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SACHS  I 


PROM   THE   LIBRARY  OF 


REV.    LOUIS    FITZGERALD    BENSON.   D.  D. 


BEQUEATHED    BY    HIM    TO 

THE    LIBRARY   OF 

PRINCETON  THEOLOGICAL  SEMINARY 


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RKADY  APRIL,  15,  1903. 


Zbc  fIDusic  of  the  Epbrata  Cloister. 


A  Monograph  amplifying  the  cliapter  on  Music  in  Volume 
II  of  "The  German  Sectarians." 

Conrad  Beissel's  treatise  on  harmony,  as  set  forth  in  the 
preface  to  the  Ephrata  Turtel  Taube  of  1747,  is  fully  explained 
and  illustrated  with  fac-simile  reproductions  of  parts  of  the  text 
and  Ephrata  Music  and  scores  in  both  the  original  and  modern 
form,  which  are  now  for  the  first  time  correctly  transposed  into 
modern  notation. 


The  book  is  bound  in  fine  cloth,  gilt  top,  uncut  edges,  royal 

8vo.,   pp.    108,  sent  post    paid,   $2.00.      Edition   limited  to  two 

hundred  and  fifty  copies. 

(Reprinted  from  Proceedings  of  Pennsylvania-German  Society,  Vol.  XII  ) 

If  you  are  interested,  kindly  send  order  on  enclosed  postal. 

JULIUS  F.  SACHSE, 

4428  Pine  Street, 

Philadelphia. 


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iWustc  of  %\}t  €pJ)rata  Cloister 

ALSO 

ConraD  BSeijSjserjs  Cteattjse  oit  ;^ujSic 

AS   SET    FORTH    IN   A    PREFACE  TO  THE 

**CurmCaube"  of  1747 

AMPLIFIED  WITH  FACSIMILE  REPRODUCTIONS  OF  PARTS  OF  THE  TEXT 
AND  SOME  .ORIGINAL  EPHRATA  MUSIC 

OF     THE 

WtvvmtliB  |)n5tl,  1739  ;  Koscn  unti  iilicn,  1745 ;   Curtel  Caubc, 
1747  ;  Cfjoral  ^ntl),  1754,  etc. 

BY       ,// 

JULIUS  FRIEDRICH  SACHSE,  LiTT.D. 

Member  American  Philosophical  Society — Historical  Society  of  Pennsylvania — Pennsylvania- 
German  Society — American  Historical  Association — XHI  International 
Congress  of  Orientalists,  etc.,  etc. 

Reprinted  from  Volume  XII.,  Proceedings  of  the  Pennsylvania-German  Society 


LANCASTER 

PRINTED  FOR  THE  AUTHOR 

1903 


Copyright,  1902,   by 
J.  F.  SACHSE. 

All  rights  rtstnitd. 


Of  this  Edition  two  hundred  and  fifty  copies  have  been 
Julius  Friedrich  Sachse. 


printed  of  which  this  is  No.  •'^'V; 


r«fM  cr 

TW«    NIW  IW  nWNTlMC  CO«r*JiT, 

UVWMTtll,  nt. 


PREFACE. 


MITHOUT  doubt  the  music 
of  the  Ephrata  Cloister, 
as  evolved  in  the  Settlement  on 
the  Cocalico,  during  the  first  half 
of  the  XVIII.  century,  and  based 
on  Beissel's  peculiar  system  of 
harmony,  exercised  a  far  greater 
influence  upon  the  community  at 
large  than  is  generally  supposed. 
It  not  only  had  its  effect  upon  the 
social  life  and  development  of  the 
German  settlers  of  Lancaster  and 
adjoining  counties  who  had  fallen 
away  from  the  orthodox  faith  of 
their  fathers,  by  guiding  their 
thoughts  and  minds  into  a  spiritual  channel ;  but  it  grad- 
ually extended  its  influence  beyond  its  original  bounds, 
across  the  Susquehanna ;  and  in  the  course  of  a  few  years 
we  find  it  installed  in  the  valleys  of  the  Antietam  and 
Shenandoah  where  it  found  a  lodgment  until  long  after 
the  parent  community  had  passed  out  of  existence. 

It  was  even  carried  west  of  the  Alleghanies,  and  into 
far-off  New  England,  by  these  pious  celibates,  and  it  is 
not  altogether  improbable  that  one  of  the  Ephrata  tune 
books  was  largely  instrumental  in  shaping  the  musical 
work  of  the  Yankee  tanner. 

For  many  years  this  native  Pennsylvania-German  music 

(3) 


4  Preface. 

was  a  sealed  book  to  the  student  and  historian,  but  the 
recent  discovery  of  the  original  score  and  tune  books  of 
the  Cloister,  together  with  Beissel's  "  Dissertation  on  Har- 
mony," as  set  forth  in  the  preface  of  the  hymnal  known  as 
the  Turlcl  Taubc,  enables  us  now  for  the  first  lime  to  give 
the  English  reader  a  clear  insight  into  this  peculiar  product. 
For  the  translation  of  the  "  Dissertation"  and  for  the  trans- 
position of  several  musical  numbers  into  modern  notation, 
we  are  indebted  to  the  Rev.  J.  F.  Ohl,  Mus.D.,  of  Phila- 
delphia. 

Thanks  are  also  due  to  General  John  F.  Roller,  of  Har- 
risonberg,  Va.,  for  valuable  aid  rendered  the  writer  in 
tracing  the  history  of  the  German  sectarians  in  Virginia ; 
to  Mr.  W.  H.  Richardson,  of  Norristown,  Pa.,  for  two 
valuable  illustrations;  and  to  J.  F.  Mentzer,  M.D.,  of 
Ephrata,  and  other  fellow-members  of  the  Pennsylvania- 
German  Society  who  have  so  generously  aided  the  writer 
in  his  researches  during  the  past  years. 

Julius  Friedrich  Sachse. 

Philadelphia,  December,  1902. 


TABLE  OF  CONTENTS. 


CHAPTER  I. 

THE  MUSIC  OF  THE  CLOISTER. 
Unique  Notation,  Quaint  Melodies — Earliest  Ephrata  Music  — 
Contemporary  Accounts,  decline  of  the  Community  —  Music  Fos- 
tered at  Snowhill  Nunnery  —  Manuscript  Music  Books —  Published 
Accounts — Beissel's  Knowledge  of  Music — History  of  the  Klos- 
ter  —  Dr.  Wm.  M.  Fahnestock  —  Dr.  Oswald  Seidensticker  —  First 
Issue  of  the   Ephrata  Press  — Title  Pages  — The    Turtel    Taube 

—  Inadvertent  Mistake  —  Score  Book  of  the  Cloister 6-23 

CHAPTER  II. 

BEISSEL'S  APOLOGY  FOR  SACRED  SONG. 
Scripture   Texts  —  Song   of  the   Godless  —  Song  of  the   Early 
Christians  — at  the  Table  —  Psaltery  of  Ten  Strings  — The  Holy 
Spirit,  the  True  Singing  Master 24-26 

CHAPTER  III. 

THE  MUSIC  OF  THE    KLOSTER. 
New  Material  —  Correct  Transposition,  Beissel's  System  of  Har- 
mony—  Ludwig  Blum,  Alleged  Portrait — Curious  Features  of  the 
Music  —  Movable  C  Clef — Seven-part  Motet  —  Choral  Songs,  an 
Ephrata  Sister 27-31 

CHAPTER   IV. 

HYMN-BOOKS   OF  THE   COMMUNITY. 
Early  Efforts  at  Hymnology  —  Franklin  Imprints,  Manuscript 
Hymnal  —  Wyrauchs  Hugel  —  Song  of  the  Solitary  Turtel  Taube 

—  Wunderspiel  —  Rare  and  Interesting  Titles  —  Great  Hymnal — 
Sub-Titles  —  Various  Editions  —  Prior  Jaebez 32-52 

CHAPTER  V. 

THE  TURTEL  TAUBE  OF   1747. 
Foreword  —  Original  English  Version  —  Power  of  the  Church  — 
Hymns  and  Music  Adapted  to  Worship  of  God  —  Spirit  of  Singing, 
Mysteries  of  God  —  Conclusion  of  Foreword 53-58 

5 


6  Table  of  Contents. 

CHAPTER  VI. 

FATHER    FRIEDSAM'S   DISSERTATION. 
Facsimile  of  Prologue .       ...    59-65 

CHAPTER  Vn. 

Reissel's  Unique  Instructions  on  the  Voice  Relations  of  Pupil 
and  Master  —  Demands  of  the  Spirit  —  Kinds  of  Food  —  Effects  of 
Milk,  Cheese,  Hutter,  Eggs,  Honey  —  Cooked  Dishes  —  Common 
Vegetables  —  Concerning  Drink  —  Enochiau  Life 66-69 

CHAPTER  VIII. 

BEISSEL'S    DISSERTATION   ON    HARMONY. 
Translator's  Note  —  Qualification    of  Teacher — the   Voices — 
What  Constitutes  a  Four-part  Tune  —  Barrir  and  Toener  —  Bcissel's 
Explanation  —  Major  and  Minor  Keys — Four-part  Key  for  Melo- 
dies in  C.  —  Key  Diagram 7o-79 

CHAPTER  IX. 

ORIGINAL  AND   MODERN   NOTATION. 
Conclusion  —  Original  Four-part  Score  on  Single  Staff — Ren- 
dition—  Illustrations,  Wohl  auf  in  Four-part — Seven-part  Motet 
—  Five-part  Melody  —  Six-part  Choral  —  Rendition  by  Mrs.  Frank 
Binnix  —  Sister  Anna  Thomen ...    80-92 

APPENDIX. 

A  PAGE  OF  EPHRATA  THEOSOPHY. 

An  Old  Manuscript — German  Proverb  —  Brother  Obed  —  His 
Primer —  A  Newly-discovered  Ephrata  Imprint  —  Credit  Due  Penn- 
sylvania-Germans—  Appearance  of  Guardian  Spirit  —  Various 
Transmigrations  —  Man's  Cruelty  —  Woman's  Frailty  —  Moral  and 
Conclusions 93-106 


LIST   OF  PLATES. 


Negatives  and  Reproductions  by  Julius  F.  Sachse- 

The  Ephrata  Kloster,  General  View      frontispiece 

Portrait  Late  Professor  Oswald  Seidensticker facing  page  17 

Specimen  Page  from  Choral  Buch "  "40 

Interior  Views  of  Sister  Saal  or  Chapel "  "52 

An  Old  Ephrata  Hand  Press "  "96 


ILLUSTRATIONS. 


PAOB. 

Vignette,  Wisdom 3 

Head  Piece,  Music 9 

Initial  E    .        9 

Snowhill  Main  Building  ....  11 

Ephrata  Pen  Work 12 

Ephrata  Sampler 14 

Bethania           .  14 

Sister  House  and  Chapel  ...  15 

Wm.  M.  Fahnestock 16 

Head   Piece,   Delicae   Ephraten- 

ses 24 

Ornate  I ....  24 

Tailpiece,   "  Laus  Deo "    ...  26 

Head  Piece,  Doves 27 

Ephrata  T 27 

Silhouette  Beissel 28 

Ephrata  Lily .    .  31 

Ephrata  Sister 32 

Head  Piece,  Books  and  Pens  .    .  33 

Ornate  T 33 


Peter  Miller  Portrait 51 

Head  Piece,  Cupid 53 

i  Script  I 53 

Tail  Piece,  Passion  Cross    ...  58 

Ephrata  Water  Mark 65 

Head  Piece,  Lilies 66 

Vignette 66 

Script  Alphabet 69 

Head  Piece,  Beaux  Art     ....  70 

Initial  T .70 

Watermark,  1744    .            ....  79 

Head  Piece  and  Initial 80 


So- 


Tail  Piece     

Ephrata  Symbol     .    . 

Seal  Pennsylvania-German 

ciety 

Head  Piece,  Knowledge  .    . 

Vignette,  Wisdom 

Schwenkfelder  Inital   .    .    . 

Tail  Piece  ,"  Finis  " io6 


86 
92 

93 
95 
95 
99 


'     (7) 


Title  Pages  and  Music. 


TITLE   PAGES   AND   MUSIC. 


PAGE.   I 

Music,  Earliest  Ephrata,  1735  .  10 

Arndt's  Gebetlie,  Ephrata  .  17 

Wunderschrift,  Ephrata,  1745    .  18 

Disscrtatiau  on  Man's  fall,  1765  .  19 

Chronicon  Ephratense,  1786  .  .  20 
Leben   eines  Herzogs,  Ephrata, 

1790 21 

Music,  Gott  ein  Herscher       .    .  30 

Gbttliche  Licbes  gethone,  1730  .  34 

Vorspiel  der  Neueu-welt,  1732  .  35 
Paradisische    Nachts   Tropffen, 

1734        36 

Jacobs    Kampf  u.    Ritter-Platz, 

•736 37 

Zionitischcr  Weyrauchs  Hiigel, 

1739    •    •    •               38 

Gesiing  der  Turtel  Taube,  1747  .  39 

Paradisisches  Wunderspiel,  1754  40 

Turtel  Taube  Nachklang,  1755  .41 
Turtel   Taube    Neuvermchrtes, 

1762    .           41 

Rosen  u.  Lilien.  "  Saron,"  1756  .  42 
Rosen   u.    Lilien.   "  Bethania," 

1756 41 

Wunderspiel,  1766  .    .  .42 

Ausbund    geistreicher     Lieder, 

1785 43 

Gilfende  Hertzens-Bewegungen 

1749 44 

Turtel  Taube,  sub-titles    .    .    .  46-48 

Zionitischer  Rosen  Garten,  1754.  49 


PACK. 

Neuer    Nachklang    der    Turtel 

Taube  52 

Prologue,  fac-siniile 59-65 

Barrir    and    Toener,   fac-siniile,    72 
Music,  four-part,  key  for  Melo- 
dies in  C,  original  and  trans- 
position   74 

Music,  Key  Diagrams  .    .    .    .  76,  77 
Music,  original  scores  .    .  .81 

Music,    Die  Braut   ist  Erwachet 

(original)  .  .82 

Music,  Die   Braut   ist  Erwachet 

(modern)   .  .  ...    83 

Music,  four-part  anthem  .    .  84 

Music,  Wie  ist  docb  der  Herr, 

five-part    (original)  ....    85 
Music,  Gott  wir  Kommen    dir, 

five-part    (original)      ...    85 
Music,  Gedencke  Herr  an  David, 

six-part  (original)  .  .    87 

Music,  Wohlauf  und  Schmiicke, 

four-part  (original)           .    .    88 
Music,  four-part  (modern)      .    .    89 
Music,  Gott  ein  Herrscher  aller 
Heiden  7  part  Motet,  Mod- 
em Notation           .    .    .    .  90,  91 
Title,  Ephrata  Primer,  1786      .    94 
Title,  Geistliche    Briefe     eines 
Friedsamen     Pilgers    Eph- 
rata, 1794 98 


'^**^''j^tif»><^ 


CHAPTER   I. 

The  Music  of  the  Cloister. 

VEN  more  interesting 
than  the  high-gabled 
cloister  buildings  at 
Ephrata,  with  their 
curious  history  and 
associations,  or  the 
issues  of  the  print- 
ing'office  and  writing 
room,  with  its  ornate 
specimens  of  calig- 
raphy,  is  the  music 
of  the  Ephrata  Klo- 
ster,  with  its  distinc- 
tive system  of  har- 
mony, unique  nota- 
tion and  quaint  melodies,  with  a  peculiar  method  of  vocal 
rendition,  all  of  which  were  an  outgrowth  of  the  the- 
osophy  taught  by  Conrad  Beissel  and  his  followers  on  the 
Cocalico. 

That  this  singular  system  of  harmony  (if  strictly  speak- 
ing it  can  be  called  a  system),  was  an  original  evolution 

(9) 


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The  Pennsylvania-German   Society. 


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KARUHST    KPHRATA    MUSIC— FROM    MS.    HYMN-BOOK    USED    AT    AMWKLL, 
N.    J.,    ABOUT    1735. 


Ephrata  Music. 


II 


from  the  brain  of  the  Magus  on  the  Cocalico  cannot  be 
denied,  and  it  has  the  additional  distinction  of  being  the 
first  original  treatise  on  harmony  to  be  published  in  the 
western  world.  This  was  fully  a  quarter  of  a  century  be- 
fore the  Yankee  tanner,  William  Billings,  published  his 
"New  England  Psalm  Singer." 


MAIN   BUILDING   OF  THE   SNOWHILI,  INSTITUTION. 


Contemporary  accounts  by  visitors  to  the  Ephrata  com- 
munity during  the  eighteenth  century,  all  bear  witness  to 
the  peculiar  sweetness  and  weird  beauty  of  the  song  of  the 
sisterhood,  and  the  impressive  cadence  of  the  chorals  and 
h3'^mns  of  the  combined  choirs.  Some  writers  even  dwell 
upon  the  angelic  or  celestial  quality  of  the  vocal  music  as 
it  floated  through  the  spaces  of  the  large  Saal,  as  the  re- 
sponses were  sung  and  reverberated  from  gallery  to  choir. 

Much  of  the  beauty  of  the  music  was  no  doubt  due  to 
the  quality  of  the  voices  and  the  way  they  were  used. 

With  the  decline  of  the  monastic  or  celibate  feature  of 
the  Ephrata  community,  the  music  of  the  Kloster  fell  into 
disuse,  and  gradually  became  a  lost  art.  The  only  place 
where  any  attempt  was  made  to  keep  the  Ephrata  music 
alive,  was  at  the  institution  known  as  the  "Nunnery"  at 
Snowhill  in  Franklin  County.      Here  the  music  and  Beis- 


IZ 


The  Pennsylvania-German  Society. 


sel's  system  of  harmony  were  fostered,  taught  and  prac- 
ticed until  a  few  years  ago,  when  the  last  of  the  Snow- 
hill  celibates  passed  from  time  into  eternity. 


SPECIMEN    OK    EPHRATA    PENWORK    FROM    MS.  HYMN-BOOK    OF    I745. 

It    may   truthfully   be   said    that    during  the   whole    of 

the  nineteenth  century  no  effort  was  made  outside  of  the 

Snowhill   "  Nunnery  "  to  practice  or  keep  alive  this  dis- 
tinctive Pennsylvania-German  music. 


Penwork  of  the  Celibates.  13 

The  manuscript  music  books,  frequently  embellished 
with  beautiful  penwork,  became  objects  for  the  cupidity  of 
the  book  collector,  and  are  now  scattered.  A  few  have 
found  resting-places  in  museums  and  great  libraries  of  the 
country,  but  some  of  the  best  specimens  are  in  private 
hands. 

Unfortunately  many  of  the  music  books  of  the  Ephrata 
community  deteriorated,  by  virtue  of  the  peculiar  composi- 
tion of  the  ink  used,  which  destroyed  the  fiber  of  the  paper. 
Others  again  suffered  from  careless  handling  in  addition 
to  the  ravages  of  time;  then  again  in  many  cases  copies 
were  thrown  aside  or  destroyed  by  their  ignorant  owners 
as  worthless  Dutch  books.  Thus  it  happens  that  the  orig- 
inal collection  of  the  Ephrata  manuscript  music,  which 
was  never  a  very  large  one,  is  now  scattered,  and  speci- 
mens are  eagerly  sought  after  and  difficult  to  obtain. 

During  the  past  quarter  of  a  century  the  writer  has  made 
a  systematic  search  for  such  music,  scores  and  books,  not 
passing  even  fragments.  His  search  has  been  rewarded 
to  so  great  an  extent  that  it  is  now  possible  again  to  form 
a  conception  of  Beissel's  remarkable  musical  productions, 
and  have  them  rendered  once  more  in  their  original  form. 

Particular  attention  has  also  been  devoted  to  the  pub- 
lished accounts  of  Beissel's  theories  on  harmony,  in  both 
the  Chronicon  JEphratense  and  the  hymn-book  known  as 
the  Turtel  Taube  oi  1747.  Comparisons  have  been  made 
between  oi-iginal  scores  by  Beissel  and  the  elementary 
exercises  used  in  the  singing  school,  as  well  as  with  the 
finished  and  concerted  pieces  used  at  the  Kloster  services. 
Thus  we  are  now  in  a  position  to  form  a  tolerably  clear 
idea  of  this  system  of  harmony  which  had  its  development 
on  the  banks  of  the  Cocalico,  as  well  as  of  the  original 
manner  of  rendering  the  music. 


H 


The  Pennsylvania-German  Society. 


I  I.H.D.E-K.A.V.. -S..rj.G.».W.tI>.8:  '5.H.I^ A.J.;i;,:©.'Z.EW.V.D.yi,2l; 
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3 

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FROM    AN    KPHRATA   SAMPLER. 

Conrad  Beissel  evidently  had  but  a  scant  acquaintance 
with  the  church  music  of  the  Reformation  period,  and  his 
musical  compositions,  it  now  appears,  stand  in  the  same 
category  with  his  theosophical  writings.  The  music  of 
the  Ephrata  Kloster  is  entirely  unlike  the  ancient  church 
music,  and  it  has  none  of  the  rhythm  and  swing  of  either 
the  religious  or  secular  folk-song  of  the  Reformation.     Our 


BETHANIA,  THE  OLD   BROTHER   HOUSE. 

Ephrata  music,  like  the  hymns  to  which  they  were  set, 
contains  many  elements  of  mysticism. 

It  will  be  remembered  that  this  music,  with  its  peculiar 
system  of  harmony,  wa.s  a  native  Pennsylvania  product  — 


History  of  the  Kloster. 


15 


the  earliest  and  most  original  distinctive  system  of  music 
evolved  in  the  western  world  during  the  eighteenth  cen- 
tury. Though  crude  in  many  of  its  progressions  and  often 
incorrect  in  its  harmonies,  yet  from  both  an  historical  and 
a  musical  standpoint  it  is  unique  and  valuable. 

Sung  as  it  was  with  fervor  and  feeling,  by  the  enthusi- 
astic mystic  celibates  within  the  confines  of  the  Kloster 
Saal,  the  music  unquestionably  had  a  charm  of  its  own. 

The  history  of  the  old  Kloster  has  for  years  been  a 
fruitful  subject  for  writers  of  varied  accomplishments.  No 
matter  from  what  point  of  view  we  approach  it  —  whether 
from  a  domestic,  social,  religious,  educational  or  architec- 
tural one  —  we  are  astounded  with  the  wealth  of  the  novel 
situations  which  present  themselves  before  us,  changing  at 
every  turn  with  kaleidoscopic  rapidity,  ever  presenting  new 


SISTER   HOUSE  AND   CHAPEL. 


and  curious  combinations,  and  offering  for  consideration 
themes  for  study  and  an  incentive  for  further  research  and 
discovery. 


i6 


The  Pennsylvania-German  Society 


During  the  past  quarter  of  a  century,  the  reading  public 
has  been  kept  tolerably  well  informed  of  the  history  of  this 
mystic  community  that  had  its  origin  in  Lancaster  County 
within  our  own  State,  In  most  cases  these  accounts  were 
mere  newspaper  sketches,  superficially  written  by  the 
average  reporter  of  the  day,  who  usually  has  a  vivid 
imagination,  without  any  time  or  training  for  research  or 
historic  investigation. 


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UR.    WM.    M.    FAHNESTOCK,    b.    APRIL    lO,    lSo2;  d.    DEC.    I5,    1854. 

Even  worse  than  these  ephemeral  stories,  we  have  been 
afflicted  with  occasional  dissertations  and  opinions  by 
would-be  authorities,  who,  although  totally  ignorant  of 
the  German  tongue,  and  the  habits  and  customs  of  our 
people  and  their  literature,  have  set  themselves  up  to  speak 
authoritatively  of  the   Ephrata  people,  their  writings  and 


MUSIC    OF    TME    fFMRATft    CLOISTER. 


TROF.  OSWALD    SEIDEMSTICKER. 

e.   MAY    S,    \»2t  ;     D.    JANUAAy    10,    IB»4. 


A  Unique  Imprint. 


17 


music.  These,  in  almost  every  case  have  been  mere  idle 
vaporings,  unworthy  of  notice  and  valueless  for  reference, 
except  as  to  such  portions  as  they  have  taken  bodily  from 
the  publications  of  the  Pennsylvania-German  Society — or 
its  members. 

In  bold  contrast  with  the  above  screeds,  we  have  a  num- 
ber of  fugitive  and  fragmentary  papers  in  both  German 
and  English — publications  of  great  value  by  such  writers, 
investigators  and  scholars  as  the  late  Dr.  Wm.  M.  Fahne- 
stock,  Professor  Oswald  Seidensticker  and  others. 

These  publications  were  followed  by  the  "  Critical  and 
Legendary  History  of  the 
Ephrata  Cloister  and  the 
Dunkers,"  an  exhaustive 
work  by  the  present  wri- 
ter, forming  the  basis  of 
his  "German  Sectarians." 
This  work,  representing 
a  research  and  labor  of 
more  than  twenty  years, 
was  supposed  to  have  been 
exhaustive,  giving  the 
whole  history  of  the  move- 
ment and  settlement  of  the 
mystic  community,  as  well 
as  a  complete  list  of  the 
issues  of  the  Ephrata  press 
and  a  bibliography  of  the 
Kloster.  But  since  its 
issue,  a  number  of  new 
imprints,  broadsides  and 
rhanuscripts  have  come  to 
light,  chiefly  through  the  incentive  offered  by  the   pub- 


gctflrctdjc 
unt) 

5lbenb  • 

@ebett)C/ 

auf  jeDm  lag  bet 

©ctiruchl  unb  yx  W- 

ben  tn  5ancajler  bcv 

^enric^  2)om  in  oer 

2)Dntfial--flro0. 


TITLE  OF  ARNDT'S    SPIRITUAI, 
PRAYERS. 


z8 


Music  of  the  Ephrata   Cloister. 


lished  list  in  the  "  German  Sectarians,"  among  them  being 
a  copy  of  Arndt's  Gebelhc,  supposed  to  have  been  the  ear- 
liest issue  of  the  Ephrata  press. 

So  far  as  the  writer  has  been  able  to  discover  in  his  in- 
vestigations of  the  Ephrata  press,  there  are  evidences  of 


£tDen 


300  3a^  tm  ^aroMe^  gfrnefcti; 

0(dn3cn9  tclcrcr  jurtid  to  fctn  9icic^  tam, 

!Stot>«,  fict)  ta  (Strait  iln<f  f(t)c  aUen 
SO?«nnc«  oenvanfidt,  unD  flitbt. 


Qpbtata,  &c&aicft  (m  3aQt    i7»<>. 


A   LATELY   DISCOVERED   KPHRATA   IMPRINT. 

three  instances  where  efforts  were  made  to  issue  an  orig- 
inal work  of  the  community  in  both  German  and  English. 
The  first  of  these  was  Beissel's  Wunderschrift  (1745). 
The  English  version,  "  A  Dissertation  on  Man's  Fall," 
was  not  printed  until  1765. 


Page  of  an  Efhrata  Imprint. 


)   »  ( 


'*3nc  tf<ff  SdisfffgenM  meUic^  ©rifted  ^at  u%  Ur» 

M):  ^\\x<\)  xtiW  tt»(«crc{.neU)it(l;e  ttltdcI^d^tiNitm 
\a^  Mron  acf oiunicii  bin.  UnD  £b  (tcj)  f((;cu  bic  S(Vi;f#lt 
%vx^\n\e)^imH^^^  onvrei^t:  f».  xM  Ud^rdi  vaX 
^orrcDe)  cttva^^  aitmcrctm/  um  eimn  (Sin^ang  yixi  6^ 
4e  ;(it  mncDcn. 

3dj  Tjobe  su>nr  in  rcn  Xa^cn  nicincr  ©firtttd&en  3iiB^^ 
gcnicut^t;  cd  (5)ifc  luir  nia?t  feOfcn/  tvanuid)  Uii<t)  ft^o^tie:: 
auf  tiu^.faulH'iiic  6i'cn;  tun  utcinm  SSSantcl  im.^.  SQe^ 
UcH'^'n  tlH^  (BottHcl'm  ^ic^te  anfi'tbrrii.  ^lleinbiifi^ 
(^t  fo  vkk  f)4mc  unb  W)wcrc  ©fjvnfurficbe  emcctrt;  bat^ 
ttiicb  eft  ^ntr((}cn  ttnb  O^rauTcir  nnfam:  n^invoM  i<i^  ros 
fieben  mrtn  .^.  SDctKcbtsfrnn  rcrtfe(jtC/  in  ber  gnrtmmgi  i^, 
int  €ic3  ju  gcnHnncn.  SiRcin/  ic  nicfir  Jfcifj  tcb  (mwiintti 
b(f!o  cine  bcfrtdcrc  iKcbcQionicI^  in  mit  itmAutrnW^ 
mi^  ficDltcb  fo  dc0bct  tutb  acficbet  boll  efmiaf  Me  ^tcineK 
Xi^cm  (te  marten  cine  ^ntvfin^Uc&fctt  ge^br^  init  mir  ^t» 
ten  fc^rctjcn  nififtcn;  fonbcilic^  tvcU  ber  gtofe  SKg  sinb  bfe 
(iHcttcinfre  ^ninfr  bcr  Ciebe  nOejcit  bo^  Scilec  gc  fif^irtt  jii 
eimuv  ncwn  mmw.  (i)  ©icfe^  ^at  niic^  fa^m  in-  gac 

(0  S«f  ^^«»  tuftrfXcixn  i|?  for<j(iiJfir:3<mc5if  m  mtU^n  Ias 
e>\:ti  cn<;clc0(n  fctiU;  t(|?c  ni(()r  tv<r^  Hi  XXM  <n  itn^  »$(.  £^  i^ 
M(f(i(  ciiK  aii^fonotf  ^i:fa[}riiit0.  6(f?^tiflte  Sffiat^cft:  t^i  tr^ittn  wit 

<9itJ[(# 


INITIAL  PAGE  OF  THE  GERMAN  VERSION  OF  BEISSEL'S  WTTNDERSCHRIFT. 


20 


The  Pennsylvania-German  Society. 


Diffcrcation  on 

MANS     FALL, 

Tranftatcd  from    the  High-Gcmun  Origiiul. 


Wnted:    fiP^/l^^  Anno  MDCCLXV. 

old  at  Philadfllphia  by  Moffiears  Chris Tortf 

Marshal    and     Williak      Ditnlap 


TITLE  PAGE  OK  THE  BNGLISH  VERSION  OF   BEISSEL'S  WUNDERSCHRIFT. 


Title  Page  of  the  Chronicon  E^hratense. 


21 


Chronicon    Ephratenfe, 

griebfam    @ottrct&t/ 

2Bralnn6  ©tl|ficr«  unK  g5ot|!c^cttf  Detf  geiftl.  OtJcntf  Dec  ©nfamm  to 

Ephrnta    hi  DCC    0vafr(1)aft    Laacafler    ia   Penniylvania. 

3«fameii  gctraaen  iJon  Sr»  Lamech  u^  Agrippa. 

Cr  ifl  rou  5)115  5cu«r  eincg  (SoI&fcf)niieD«,  unti  role  Die  ©cijfe  ^et  ClBdfd)«:  & 
«itD  Die  iCiuDcv  £coi  tcjniflcn  rote  (SoI&  nnb   <2tlbcr.    SWalacJj.  a*  2.  3. 

6«  j|l  Oie  3«»t<  '^'^t  cmfal)e  Dad  (Scridjt  am  J;)aufe  jotted/  fo  ober  juetfl  an 
nnd/  lead  ivill  tot  ein  SnDc  tvcrDen  mtt  benen,  Die  Dem  (Svangelio  '&^\nt 
nict)t  glauben.  UnD  fo  Dec  (SeTcct)te  fummcr(td>  erl)a(t(ti  roiiD/  wie  will  Jmt 
©ottiofe  unD  ©unDer    etf<:I)«»ncn    1.  f^ctt.  47  17-  18. 


EPHRATA:    ©CDWCft     Anno      M   D    C  C  L  X  X^X  V  I , 


TITI,E  PAGE  OF   CHRONICON   EPHRATENSE. 


22  Music  of  {he  Efhrata  Cloister, 

The  next  venture  was  the  Chronicon  Efhratense.  This 
was  translated  by  Brother  Jaebez,  and  the  MS.  sent  to 
Christopher  Marshall  for  correction  and  revision.  The  out- 
break of  the  American  Revolution  prevented  its  publication. 

The  third  work,  and  to  us  at  present  the  most  important 
one,  was  Beissel's  Dissertation  on  Harmony  as  it  appears 
in  the  preface  of  the  Turtel  Tatibe  of  1747.  The  writer 
has  never  been  able  to  find  a  complete  copy  of  this  trac- 
tate in  English.  A  fragment,  however,  has  come  down 
to  us,  proving  the  fact  that  it  was  translated  and  printed 
in  English ;  but  it  unfortunately  lacks  the  title  and  con- 
cluding pages.  Such  portions  as  we  have  are  printed 
verbatim  et  literatim,  the  missing  parts  being  translated 
and  supplied  by  the  present  writer. 

The  attention  of  the  writer  has  been  repeatedly  called, 
by  musicians  and  other  competent  musical  judges,  to  cer- 
tain glaring  errors  in  the  music  as  printed  in  the  musical 
chapter  of  his  work,  and  supposed  to  have  been  a  correct 
translation  of  the  Ephrata  scores  into  modern  notation. 
The  writer  greatly  regrets  the  inadvertent  introduction  of 
this  erroneous  matter  into  his  work — mistakes  for  which 
he  can  hardly  be  held  responsible.  In  compiling  the 
chapter  on  the  Ephrata  music '  the  writer,  not  being  an 
expert  skilled  in  the  rules  of  harmony,  nor  proficient  in 
instrumental  music,  entrusted  the  transposition  of  several 
specimen  pieces  into  modern  notation  to  the  hands  of  a  per- 
son whom  he  believed  to  be  a  competent  and  practical 
musician  —  one  who  claimed  to  have  some  knowledge  of 
this  kind  of  music.  Fortunately  for  the  writer,  only  three 
of  the  transpositions  were  used. 

The  many  criticisms  which  they  brought  forth  led  to  a 
closer  and  more  general  examination  and  study  of  such 
Ephrata  scores,  manuscript  music  books  and  sheets  as  were 

•  "  German  Sectarians,"  Vol.  II.,  Chapter  VI.,  pp.  127-160. 


An  E^hrata  Score  Book.  23 

available,  and  a  comparison  of  them  with  such  descriptive 
and  explanatory  matter  as  appears  in  the  Chronicon,  the 
Turtel  Taube  and  other  books  of  the  Ephrata  institution. 

Since  the  issue  of  the  final  volume  of  the  "  German 
Sectarians,"  quite  opportunely  several  new  and  heretofore 
unknown  music  books  and  manuscripts  were  found  and 
brought  forth  from  their  resting-places,  and  were  kindly 
sent,  by  their  various  inheritors,  owners  or  legatees  of 
some  of  the  old  Sabbatarians,  to  the  writer.  Two  of  these 
books  deserve  special  mention,  as  they  give  to  us  the 
key  to  the  whole  system  or  manner  of  the  rendition  of  the 
music,  and  how  it  was  originally  written  or  composed  by 
the  versatile  genius  on  the  Cocalico.  These  books,  in 
fact,  bear  the  same  relation  to  Beissel's  musical  hiero- 
glyphics that  the  Rosetta  stone  does  to  the  Egyptian  ones. 
One  of  these  books  appears  to  have  been  the  score  book 
of  either  Beissel  or  some  other  leader  of  the  choirs.  It 
also  differs  from  any  of  the  other  known  music  books,  as  it 
contains  some  of  the  music  as  originally  written  by  the 
composer,  Conrad  Beissel.  In  some  places  the  entire  four 
parts  are  written  consecutively  upon  a  single  staff,  the 
clef  being  shifted  to  suit  the  voice  or  part.  In  many  cases 
the  words  of  the  hymns  are  also  divided,  showing  the  num- 
ber of  words  sung  respectively  to  each  bar,  which  in  many 
cases  is  an  arbitrary  selection. 

The  other  book  shows  how  the  above  four-part  music, 
as  originally  written  on  a  single  staff,  was  written  out 
when  used  in  actual  practice. 

Another  interesting  bit  of  information  that  has  come  to 
light  in  this  connection  is  "  Beissel's  Apology  for  Sacred 
Song,"  a  colloquial  tractate  consisting  of  eleven  questions 
and  answers  whereby  Beissel  justifies  the  introduction  of 
sacred  song.  This  tractate  is  now  for  the  first  time  ren- 
dered into  English  and  here  follows. 


CHAPTER   II. 
Beissel's  Apology  for  Sacred  Song. 


S  it  consistent  \v  i  t  h  the 
Word  of  God  that  we 
sing? 

Yes,  as  we  find  in  both 
Old  and  New  Testaments 
commands  and  examples. 
Psalm  Ixviii.  5,  33; 
Matthew  xxvi.  30  ;  Eph. 
V.  19  ;  James  v. 13. 

Who  shall    then  sing? 
All   the  saints  of  God, 
whose  hearts  and  mouths 
are  full  of  praise,  thanks- 
giving and  prayer. 
Cannot  the  godless  sing  a  hymn  in  a  manner  acceptable 
to  God  ? 

Oh,  no,  for,  like  unto  the  prayer  of  the  wicked,  so  also 
is  their  song  abhorrent  unto  God.     The  bawling  of  their 
hymns  pleaseth  Him  not.      Amos  v. 
Why  cannot  such  people  sing  rightly? 
Because  they  have   not  the   spirit  of   Christ,  who  alone 
can  intone  the  true  tone  and  song. 

(24) 


The  Song  of  the  Early   Christians.  25 

How  sang  the  early  Christians? 

One  of  the  old  chroniclers  speaks  thereof  as  follows  : 

"The  husbandman  sings  behind  the  plow  a  joyful 
hallelujah  ;  the  tired  reaper  enlivens  himself  with  psalms, 
and  the  vinedresser  sings  portions  of  David's  hymns,  and 
so  forth," 

At  their  meetings  did  they  sing  together? 

Yes.  For  as  they  met  together  before  break  of  day 
they  read  some  selections,  offered  prayer,  and  in  the  sim- 
plicity of  Christ  sang  hymns  of  praise  as  heathen  writers 
have  testified  of  them. 

Did  they  sing  at  the  table  ? 

Yes.  In  place  of  disgraceful  laughter  and  unnecessary 
conversation  at  the  table,  they,  with  wife,  children  and 
guests,  intoned  hymns  of  praise  and  thanksgiving. 

How  shall  the  heart  be  qualified  when  we  want  to 
sing? 

As  it  has  been  crushed  under  the  law  and  made  pensive 
after  God,  then  comes  the  Holy  Ghost  and  brings  peace 
and  joy  into  the  heart,  that  the  mouth  overflows  to  the 
praise  of  God. 

What  is  meant  by  the  psaltery  with  ten  strings,  of  which 
David  speaks? 

As  the  tenth  number  is  a  perfect  number  (when  one  has 
counted  ten,  one  begins  again  and  commences  with  one), 
therefore  is  Christ  our  psaltery  with  ten  strings,  whose  per- 
fection is  continually  in  our  hearts  and  to  be  sung  with  our 
lips. 

Who  therefore  teaches  us  to  sing  aright? 

The  Holy  Spirit,  as  the  true  singing-master,  can  turn 
the  heart  into  a  celestial  harp  and  divine  instrument,  so 
that  it  can  be  used  without  outward  instrument  and  sound, 
and  often  also  without  any  audible  voice. 


26 


Music  of  the  JEphrata   Cloister. 


Is  it  not  sufficient  when  one  outwardly  listens  to  a  beauti- 
ful melody? 

Oh,  no.  Paul  speaks  :  "  Sing  unto  the  Lord  in  or  with 
your  hearts."  Even  the  lips  of  the  godless  can  carry  a 
fine  voice. 

Intone  then  ye  saints  to  the  Lord,  intone  a  hymn  unto 
the  Lord,  with  the  celestial  choirs  of  the  upper  and  lower 
Jerusalem  ;  yea,  let  everything  that  hath  breath  praise  the 
Lord. 

Hallelujah. 


CHAPTER   III. 

The  Music  of  the  Kloster. 

HE  finding  of  this  new  material 
and  the  discovery  of  other 
interesting  features  of  mys- 
tical Pennsylvania  music,  to- 
gether with  an  earnest  desire 
of  the  writer  to  correct  the 
evident  errors  in  the  musi- 
cal transcriptions  in  his  chap- 
ter on  the  Ephrata  music, 
have  been  among  the  incen- 
tives to  write  this  paper,  and 
thereby  to  perfect  his  account  of  the  Kloster  music.  For 
this  purpose  he  has  secured  the  cooperation  of  the  Rev.  J. 
F.  Ohl,  Mus.  Doc,  well  known  as  a  musical  editor  and 
writer  on  musical  subjects.  This  authority  has  made 
correct  transpositions  of  the  native  Pennsylvania-German 
music  into  modern  notation,  enabling  us  to  present  in  its 
proper  light  the  peculiar  system  of  harmony  evolved  in 
the  versatile  brain  of  Conrad  Beissel  in  his  seclusion  on 
the  Cocalico.  A  number  of  illustrations,  sufficient  for  our 
purpose,  are  given  both  in  the  original  and  in  modern  form. 
The  system  of  harmony  here  brought  to  our  notice,  it 
must  be  remembered,  was  the  original  outgrowth  of  the 

(27) 


28 


The  Pennsylvanta-Gennan  Society. 


mind  of  a  comparatively  uneducated  man,  whose  practical 
knowledge  of  music  was  limited  to  a  few  scrapings  of 
dance  music  when  he  was  yet  a  journeyman  baker  in  the 
Fatherland.  How  much  instruction  he  ma}'  have  received 
in  theoretical  or  practical  notation  from  Ludwig  Blum 
during  the  latter's  short  sojourn  on  the  Cocalico  it  is  difficult 
to  surmise.     But,  judging  from  the  tenor  of  the  Ephrata 


ALLEGED    PORTRAIT   OF   CONRAD    BEISSEL- 


records,  Beissel  evidently  received  no  information  from 
Blum,  ex'cept  such  as  was  carried  to  him  by  Sister  Anas- 
tasia  and  her  associates.  Yet  here  we  find  Conrad  Beissel, 
we  may  say  almost  at  a  moment's  notice,  without  previous 


Curious  Feattires.  29 

preparation,  teaching  and  publishing  novel  rules  on  har- 
mony, composition  and  vocal  music  —  taking  for  his  guide, 
the  records  inform  us,  the  ^olian  harp  —  in  other  words, 
the  music  of  nature  ;  and  in  less  than  twenty  years  he  com- 
poses, it  is  stated,  over  a  thousand  different  melodies  and 
tunes,  set  in  two,  four,  five,  six  and  even  seven  parts,  to 
as  many  different  hymns,  most  of  which  were  also  of  his 
composition. 

A  curious  feature  of  this  Ephrata  music  is  that  it  was 
chiefly  sung  by  female  voices ;  thus  the  four-part  pieces 
were  rendered  by  a  female  tenor,  alto  and  soprano,  the 
music  being  written  in  the  movable  C  clef,  while  the  bass 
appears  in  the  F  clef.  In  the  five-part  scores,  a  second 
bass  is  added,  making  three  female  and  two  male  parts. 
The  six-part  compositions  have  the  same  arrangement, 
with  the  addition  of  another  female  tenor.  An  additional 
high  female  voice  completes  the  seven-part  music,  which 
I  believe  stands  unique  in  musical  literature.  This  had 
five  female  parts  and  two  male:  viz.,  two  sopranos  or 
high  female  voices,  one  alto  or  counter  tenor,  two  female 
tenors,  and  first  and  second  bass. 

The  peculiar  arrangement  of  the  voices  prevailed  in  all 
the  Ephrata  music,  a  peculiarity  which  is  distinctly  men- 
tioned in  different  contemporary  MSS.,  which  state  that 
all  the  parts  save  the  bass,  which  is  set  in  two  parts,  are 
led  and  sung  exclusively  by  the  females.  Thus,  in  the 
seven-part  music,  counting  from  below,  the  first  part  is 
lower  bass ;  second,  upper  bass ;  third,  female  tenor ; 
fourth,  female  treble ;  fifth,  counter,  high  female  voice ; 
sixth,  leading  voice  ;  seventh,  second  leading  voice. 

Our  illustration  of  Beissel's  seven-part  music,  Gott  der 
Herscher  aller  Heiden,  is  taken  from  the  Paradisisches 
Wundersptel  of  1754,  which  was  his  last  musical  work, 


30 


Music  of  the  Ephrata  Cloister. 


((ODiiutro.  i^i>4?rtl  »ttt>  loflim  oa^  rtctro,  fo  lPtt^  man  Srtiiii  luio  ^onnt  |<^ 


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an  ennm  (^AtnQ)nra,  tai  mm  oitM  ^rdg  tob  ^ti|fm  002^  ^nn  fHat^, 
in  fic  n^6^t/  ^r  SOdlcta  f(()ti aic  (BOt((^  'i&taut  nun  cin^afltW-  «96. 


\   SEVEN-PART  MOTET. 


Choral  Songs. 


31 


and  the  Chronicon  says  that  it  was  by  many  masters  de- 
clared the  most  important.  These  were  the  choral  songs, 
and  they  consist  of  a  folio  volume  partly  written,  partly 
printed. 


■   IW  fclBt  I 


32  The  Pcnnsylvania-Gertnan   Society. 

5 


AN    EPHRATA    SISTER    FROM    ILLUMINATED    HYMN-BOOK. 


CHAPTER    IV. 


The  Hymn-Books  of  the  Community. 


HE  earliest  hymn  and  music 
books  of  the  Ephrata  com- 
munity were  all  laboriously 
and  carefully  executed 
with  the  pen.  These  were 
supplanted  by  the  hymn- 
books  printed  for  their  use 
by  Franklin  in  1730,  1732 
and  1736,  and  Sauer  in 
1739.  Shortly  after  the 
large  printing  press  was 
established  in  the  institu- 
tion on  the  Cocalico  the  membership  as  well  as  the  num- 
ber of  original  hymns  and  tunes  having  greatly  increased, 
it  was  proposed  to  issue  a  distinctive  original  hymn-book 
for  the  uses  of  both  the  solitary  and  secular  organizations, 
all  of  the  compositions  being  the  work  of  the  inmates  of 
the  Kloster  and  set  to  tunes  of  their  own.  This  book  was 
to  replace  in  the  Kloster  worship  those  previously  printed 
by  Franklin  as  well  as  the  Weyrauchs  Hiigel,  which  bears 
the  imprint  of  Christopher  Sauer  of  Germantown. 

(33) 


34  Music  of  the  Efhrata  Cloister. 

GOTTilGHE 

Liebes  und  Lobes  gethSne 

Welchc  in  den  hertzen  der  kinder 
dcr  wcifzheit  zufammen  cin. 

Und  von  da  wieder  aujhgefloffen 

ZUM  LOB  GOTTES, 

IJod  nun  denen  fchulem  der  himlifchen 

weiizheit  zur  eiweckung  und  auf» 

muntening  in  ihiem  Creutz  und 

leiden  aus  hertzlicher  lie* 

be  mitgcthcilct 

D      A      N      N 

MltliAeifSlkt/lei0,  iew'gt  Gm  iien  iejlep  Prtfjt 
Vitig^Z/m^itg*»»^y  die  aUerfdifJle  <sBe^z. 

Zu  ^hibdelfbia :  Gedmdct  loBfB^fafmn 
FrankJin  in  der  Marchfr^^  ^3^» 


HYMNALS   OF   THE    EPHRATA    COMMUNITY. 


Hymnals  of  the  Ej>hrata  Kloster.  35 

VORSPIEL 

NEUEN-WELT 

Welches  iich  in  derletJJten  Abendrocthc 

als  ein  paradififcher  Lichtes-glasicz 

unter  den  Kindem  Gottes 

heivor  gethao. 

tN 

UEBESy  LOBES,  LEIDENS,  KELJFFT 

und  Etfahrungs  liedenrahgebildeP^^ 

gedt^kfUy  gehuche  undCreutx* 

trag(ifik  Kirche  aafErdeih 

Uodwie  intwilcheti' fitih 

Die  obere  und  Triumphirende  KiiM^ 

als  cine  Paradleiifche  vorkofl  her« 

vor  tbut  und  offctil^ahrcc* 

Utii  dawben^  ah 

Emfilicfae  und  zaruSende  w£chterflifnmeil 

aiuHe  annoch  zerftreuete  Kiader  Gottes;  dvfiii 

Iich  (anmlen  und  bereit  maohen  aaf  dea 

l^digen ;  Ta  bald  hereio  brechea* 

^den  Hochzeit-Tag  derbtaut 

des  Lifunfoi 

iLa  'Philadelphia  i   Gedraclct  hey  Betijamia 
FrMckJiu^kidsiMttek*firafs^  1731. 

HYMNAI,S  OF  THE   EPHRATA   COMMUNITY. 


36 


Music  of  the  Efhrata  Cloister. 


xmd 


0m  fiAr  U     y    3'    4 

HYMNAI.S   OF   THE   EPHRATA   COMMUNITY. 


Hymnals  of  the  Efhrata  Kloster.  37 

JACOBS 

KampfF  und  Ritter-Platz 

A  L  L  W  O 

Dcr  nachfcinem  urfprang  fich  fehnende 

geift  der  in  Sophiam  vcrliebten  feci© 

mit  Gotc  urn  den  neuen  namea 

geruDgeri,  und  den  Sieg 

davon  gccragcn. 

ENTWORFFEN 

mUNrERSCHIDUCHENGLJUBENS- 

a,  teidens'liedern^u,  erfahrungs  volkn  aas^ 

iruchmgen  des  gemuthsy  darimtenjich 

dar  pellet y  fo  welauff'feiten  Gottes 

Jeineunermuedete  arheitzur  rei* 

nigtingjolcher  feekuy  die  fich 

feiner  inerung  anvertrauU 
ALS  AUCH 

Aufffeitcn  des  Menfchen  der  emft  des 

geides  im  aushalten  unter  dem  procefa 

der  laurerung  und  abfchmeltzang 

des  Menfchen  der  Sundcn  famt 

dem  daraus  entfpringeo* 

den  lobes-getboQ. 

ZUR 

Gemfithlichen  enveckang  derer  die  das  faeil 

Jcrufalems  lieb  habeo. 

.  VERLEGET 

Von  tintm  Uebbaher  d^r  wahrheit  dieimvef" 

borgenen  wobnt» 
^^§»;  4$^  «oi§^  40i§o»  ^^  <5P»  «o5 
^yxmtbdel{hia^  gedrackt  bey  B.F*  i73<5. 

HYMNALS   OF  THE   EPHRATA   COMMUNITY. 


38 


Music  of  the  Ephrata   Cloister. 


ZIONITISCHER 


Otxr: 


ntrPen 


Dcj  nad!)  vipotbefer^j^inil  jubcccimei 
9{au{t) :  ^er(f  ju  findra. 

3n  allfrfei)  Cccbe^^^urcfungcn  Dfr  m  (SOtX 

gf()tillgt£n@«Ien/  trtli^tilct)  in  oider  unb  maiiittrlw 

gti{ll((ten  unD  lublttten  (futxcn  ouigcbilDd. 

Slid  bartnncn 

fcii  (D^nes  aiif  unterfcbicMiAe  tPcife 
(refflt4)  ans  geftrucfct  id ; 

3iitn  Dtcnfl 

;?)cr  in  bem  ?lbcnD  ^  CdnMfcfjcn  <2Bert -^  TOeif  at^ 

bci)  bun  Uiitergana  bcr  ^^oitncii   (rn>c(fien   5tir(t)c 

(i^Diiej,  unt>  JU  ibrcr  Srmuntcrung  auf  tic 

1}2iUerna(()fiq(  ^utan(Jt  &<l  ^rduugamS 

ans  £tct)t  0c0cben. 

(^trinan'oica  ;    &(Drii(fr  btp  €^rinop(^  6au(r    irip 


HYMNALS   OF  THK   EPHRATA    COMMUNITY. 


The  Solitary  Turtle  Dove,  39 


tt$e. 


Srt^  tarinnm  betjDe^  Me  QJorfoft  Da  mum  SJBeCt  aU 
ou^  We  Mrjwtfto  ijotfcmmente  ^reufee^sunD  CeiDmtf# 
SBege  nac^  f^w  2B6r&e  targeftellt,  unO  in 
getfrUc^e  iKeimeii  getwc^t 

58on  einem  ^  1 1  e  b  f  a  m  e  n  unb  nac^  &ec 

(hum  (Stvigmt  tuatlenOm 

Utt^mltl 
9ki0  ^f>ir<»tt(|)  6er  iSinfamett  lm^  t^erUfTettett  ^  ?t>it 


E  P  H  R  A  T  A 


HYMNALS  OF  THE  EPHRATA  COMMUNITY. 


40 


Music  of  the  Efhrata   Cloister. 


belles  %^ 

Sn  Mefcn  Icgtcn  3citcn  unl)  :!Ja^en 

3n  benen  2lbcnb^Sdnbi|'d)en  2Bt(t'^l)eiIm  aB  tin  5Bor« 

fpicl  bcr  ncutJi  SBclt  ()crt)or  gft^an.   Scffcbcnbc 

3n  cinev  gan^  ncufit  unl)  un^rmcincn  ©ing' 

3trt  aiif  Sriff  btr  eng(iftf)m  unb  ^imm» 

lifct^cn  ff^orm  cingrrit^tct. 


nU  l^mt  luxt  inchrnn  SruanufTrn  au<  ^(t  ^itxf  imb  a11^m1  ^nligm 

in  lubltc^f  31lclc6i)fn  gf&toQt     fficbrn  oit^  ttftriofr  bcr  3unif  tcr 

©tout  brt  tamm< ,  fammt  ^rt  Sutftrtnmg  auf  rra  fecnlu^m 

JJMtJriMog  trtfflw  PrxhgurLn  nrtrD. 

aiI«.oa((  Coglifitffl  (Ff)&rto  0(fan9<=Sd|V  mtt  bid  SDtli^  aa»  fltorflS  5I((f 
(UKgrfndgrt  ton  rtarm 


'^** 


tiefcfamcji 


Ccr  («Df}  in  bttfa  (TcU  nxbtt  CLaiun  nod)  &tal  fudM. 


EPHRAT/E  Sumptibus  Socictatis:  i  7  5  4  • 


TITLE   PAGE  OK   BEISSEL'S   MOST   IMPORTANT   MUSICAL  WORK, 
THE   FOLIO   CHORAL   BOOK. 


3 
d 

O 


n: 
m 

m 
m 
n: 

o 

i— 
O 
in 

H 

m 

?5 


Hymnals  of  the  E-phrata  Kloster. 


41 


»cpang 

Bum    .  . 

©efdtifl  i)cr  nnfamen 


urW  ^aufe/ 


ent^altcnb   cine  neur  ©ammluns 
@ciftlicf)cr  giekr. 


EPHRATA  ©rucf^  6ct  Sriibcrfc^afft 


3at  setnriar4affin<((ii  (Erbouuna  %k\ 
fammlct  urd  aotf  Ci(t)t  gcgcbni. 


kfKSiAfJS.  TjpU  Sxittatis  Anno  176a 


ofcituiittim 


DcflSotnen  fervor  flciBaf^fcn. 


2m5<»^t  Je^^rlK  175- 6> 


i^^  in  BETHANIA. 


3in  3<ibr  M  ^riS  17^6. 


LATER  ADDITIONS  TO  THE  TURTEI,  TAUBE  OF   I747. 


43 


Music  of  the  Ephrata  Cloister. 


23e(!(l?en^  m  etim:  neucn  ^Ammlung  Attb^ifctuba:  onb  jum  £o5 
1X8  grofm  (Bottea  <inamd>trtcr  gaffltdxt/ wit)  ctxt><iU<ii 
$uin  ^u\  |>ublicittct:  licba; . 


EPERArjE:  TypU&  Confcnfu  SocictJiis    A:   D:    Al  D  C  C  L  X  ^  f ^ 


THE  GREAT   HYMNAL  OF  THB   EPHRATA   COMMUNITY. 


Hymnals  of  the  Efhrata  Kloster. 


43 


(<|)^ta/  @(t»cft  InwSa^  i?s;{^ 


TITLE  PAGB  OF  LAST   HYMN-BOOK   PRINTED   BY  THE   EPHRATA   COMMUNITY. 
(Original  in  collection  of  the  writer.) 


44 


Music  of  the  JSphrata  Cloister. 


<Bi(f(nOe 

£)rr  mux  W  Strtige  n  bcv  DerlaiTe  nm 

Stnfamen. 

(tc^6ct)ulfaurammcn  gtbract>t:  (n  n?fI4)fr(tf  ininoas 

c^rrlcp  gtifliicfim  Uebungcn  ten  2Bam)ra»iuiO 

^apfriuatonb  trlangrr, 

lln&  fofcfici  in  gcfffHcfetn  JriKKtrm  lm^  «rt<m  an  ^ag  gt^ttm 
(9((d^  n«m,  jur  gcmdnfctaffffidxn  <Jrbaiiiing,  al«  do  W4<ft/ 


EPHRATA  in  Penfylvanicn 

X)mai  m\  <8frffl.(tf  bcn3nibfrf(»aifr"Anno  MDCCXLIX. 


SUBTITLE  OF  THE  EPHRATA  TURTEL  TAUBE. 


i 


tt 


^(c  (infamen  tin5  mloffcnm 

a)ie  <J^  H^  J^UnmcW  fKinmm  mtt  an,  unt  We 
®eif!a;/^  toot^OXX  M^/r^^aQm  mit^aoietcr. 


te 


rau^^^»inK 


al0  f»<  txxctdct  wixt> 
ton  ^op^ctifc^m  ®ci|l 


tmtct 

0lofen  unt)  £iHm. 


(45) 


SUB-TITLES   OF  THB  EPHRATA  TURTEL  TAUBE. 


46 


Music  of  the  Efhrata  Cloister. 


This  movement  resulted  in  the  issue  in  1747  of  a  small 
quarto  of  360  pages,  seven  and  one  half  inches  by  six 
inches,  known  as  the  Turtel  Taubc,  which  contains  some 
277  hymns.  This  book,  so  far  as  we  know,  was  the  first 
original  hymn-book  printed  at  Ephrata,  and  the  first  to  be 
printed  in  the  western  world,  wherein  all  of  the  hymns 
were  original  compositions. 

This  collection  is  divided  into  six  parts,  viz  : 
(i)  Der  geistliche  Brautschmuck   der    heiligen  Jung- 
frauetty  60   hymns. 

(2)  Das  Kirrcti  der  Einsamen  und  Verlassenen  Turtel- 
tauben,  62  hymns. 

(3)  Die  Braut  des  Lamms,  ah  sie  erivecket  zvird,  an- 
them and   choral. 

(4)  Abend-ldndische  Morgen-Rothe,  88  hymns. 

(5)  Gil/ende  Uertzcns-Bezvegungen,  35   hymns. 

(6)  No  special  title,  but  ornamental  head  piece,  31  hymns. 


S'Tun  fofgct  Die 
lit  fic^  flm  5tbfiil)  Der  3firm  ou^getrritrt 


ale  <»u4>  >^r<  Mflcbditbe  VtrnxOuita  urtttr 
^rm  Crcatj  <rbhcf et  wir&: 

vcrgcffclt  in  flfiftficticn 


The  Turlel  Taube. 


47 


About  two-thirds  of  these  hymns  were  contributed  by- 
Conrad  Beissel.  The  collection  of  hymns,  277  in  number, 
is  prefaced  by  a  foreword  of  five  pages,  and  a  prologue  of 
fourteen  pages,  the  whole  really  forming,  as  before  stated, 
a  treatise  on  harmony.  At  the  end  of  the  volu  me  there 
is  an  epilogue  and  conclusion  of  "  the  song  of  the  solitary 
and  deserted  turtle  dove,"  an  invocation  of  three  pages  in 
bold  display  type,  followed  by  the  usual  index. 

Two  other  editions  of  the  Turtel  Taube  of  1747  were 
issued  subsequently  without  change  of  date,  but  differing 


SSoit  Ut 

SerfaHcncn    ^ixttt 

SKua  Ut  Propbettfcbert  tTurt^el  oufge^c^t/  unb  ^t 
JUrAhdxn  Ucbunfl  mtrgetWet  von  emcm 

gtiebfamen. 


somewhat  in  the  arrangement  after  page  294,  together 
with  the  addition  of  a  large  number  of  hymns,  and  an 
elimination  of  a  few  of  the  original  edition.  Thus,  in  the 
second  edition  1749  ^^^  P^i"t  known  as  the  Gilfende  Her- 
tzens-Bewegungen  consists  of  114  hymns  all  of  which  are 
the  work  of  the  solitary  brothers  and  sisters.  Most  of  the 
hymns  of  the  sixth  part  of  the  original  edition  are  rele- 


48 


Music  of  the  Ephrata  Cloister. 


gated  to  the  fifth  part,  and  an  entire  new  part  containing 
47  hymns  by  Beissel  is  added  under  the  title  "  Von  der 
Zerfallenen  Hiitte  Davids,  und  ihrer  Wiederaujrichtting" 
etc.     The  collation  of  this  edition  is  the  same  as  above 


©in 

©ciftlicf)c^  ©cnctmal)!    unl^  £o6fpruc^ 

Sl  u  f  3  t  r  i  (t)  r  c  t 
3ur   <33crr6nnng  ^f6  ^rifOrr  OrUt\i   ux  (Sinfomcn  in 

SSon  einer  6treiterin  3€fu  s;f)vijH^ 


except  that  it  contains  372  hymns,  pp.  495  ;  no  epilogue 
but  seven  pages  of  index. 

The  last  and  complete  edition  of  the  Turtel  Taube  of 
1747,  issued  during  the  next  decade  without  change  of 


«n(i(^rfbf. 


Set  ©eiji  f*Iiefet  mit  einrm  greiibeit^ 

mc()en&)b  iin&S5anct,  imb  cinem 

^vop^rtifct)cii  ©cnid)  ktSilien. 


date,  is  virtually  the  same  as  the  one  just  described  except 

that  a  page  of  hymns  is  added  in  brevier.     Then  follows  : 

"A  spiritual   monument   and    Eulogy  Erected   for   the 

crowning  of  the  priestly  order  of  the  solitary  in   EPH- 


Music  of  the  Efhrata  Kloster.  49 

RATA,  by  a  female  Warrior  of  Jesus  Christ  who  for 
many  years  has  suffered  spiritual  Martyrdom  ;"  this  is  fol- 
lowed by  an  epilogue, 

•'The  spirit  closes  with  an  abundance  of  Praise  and 
gratitude,  and  a  prophetic  fragrancy  of  Lilies,"  the  last 
page  of  this  epilogue  being  the  same  as  the  one  in  the 
original  edition,  except  that  it  is  printed  in  the  regular 
type.  The  additional  matter  forms  eight  pages  and  the 
usual  index  is  also  included  in  the  book.  It  is  in  the  pro- 
logue of  this  hymn-book  that  our  interest  centers  at  the 
present  time,  as  it  contains  Conrad  Beissel's  dissertation 
on  harmony,  setting  forth  his  peculiar  system  of  music. 
As  has  been  previously  stated  there  was  an  English  ver- 
sion of  both  foreword  and  prologue.  A  fragment,  how- 
ever, of  the  former  alone  is  known  to  the  present  writer. 

A  complete  translation  of  the  foreword  is  here  pre- 
sented, such  parts  of  the  original  English  version  being 
presented  verbatim.  The  whole  matter  as  now  given  in 
its  entirety,  amplified  by  fac-similes  of  original  scores,  text 
and  Beissel's  apology  for  the  introduction  of  sacred  song 
into  the  curriculum  of  the  Kloster,  will  enable  the  student  of 
the  future  to  form  a  better  conception  of  this  peculiar  out- 
growth of  the  mystical  Kloster  theosophy  on  the  Cocalico 
than  was  heretofore  possible,  while  to  the  would-be  critic, 
who  is  non-conversant  with  the  German  tongue  and  the 
history  of  the  mystical  speculations  of  the  Ephrata  Com- 
munity, it  will  offer  an  insight  into  Conrad  Beissel's  strictly 
Pennsylvania-German  musical  structure. 

Before  passing  too  strict  a  judgment  on  this  music  for 
its  constant  violation  of  the  accepted  rules  of  harmony,  let 
us  consider  how  both  hymns  and  music  originated. 

These  hymns  and  tunes  were  virtually  the  outpourings 
of  religious  enthusiasts,  whose  nervous  systems  had  been 
wrought   up  to    a  high   pitch   by  incessant   vigils,    fast- 


50 


Music  of  the  Efhrata  Cloister. 


-«J 


^;i^-m^ 


Hymnals  of  the  Efhrata  Kloster. 


SI 


ings  and  an  abstemious  mode  of  life.  Then,  again,  it 
must  be  considered  that  neither  Beissel  nor  his  musical 
co-laborers  seemed  to  understand  anything  about  harmony 
beyond  the  rules  governing  the  common  chord  and  its 
inversions.  So  far  as  known  no  one  connected  with  the 
community  was  a  skilled  musician. 


THE  ONLY  KNOWN   PORTRAIT  OF   PRIOR  JAEBEZ 
(rev.  JOHN   PETER  MII,I,Er). 

Just  who  the  author  was  of  the  foreword  and  prologue 
cannot  be  definitely  stated  ;  it  is  usually  credited  wholly 
to  Beissel.     The  dissertation  on  harmony  is  undoubtedly 


52  Music  of  the  Ephrata  Cloister. 

solely  his  own  composition.  The  literary  portion,  how- 
ever, shows  the  evident  pruning  of  Prior  Jaebez  (Rev. 
Peter  Miller)  who  was  without  question  the  translator  of 
the  original  English  version. 

A  page  of  the  most  important  part  of  the  system  of  har- 
mony is  reproduced  in  fac-simile  the  better  to  enable  the 
reader  who  does  not  have  access  to  an  original  copy  to 
compare  the  present  translation  with  the  original. 

The  utility  of  presenting  a  complete  translation  of  this 
matter  prefixed  to  the  Turtel  Taube  may  be  questioned 
by  some.  In  the  writer's  chapter  on  the  Ephrata  music 
in  his  German  Sectarians,  only  the  vital  parts  bearing  on 
Beissel's  system  of  harmony  were  presented.  The  desire 
having  been  expressed  in  some  quarters  that  it  were  well 
to  have  the  matter  in  its  entirety,  regardless  of  its  mystical 
and  vague  phraseology,  the  whole  matter  is  here  presented, 
together  with  fac-similes  of  the  subtitles,  and  illustrations 
of  the  "Spiritual  Monument"  and  Epilogue,  which  are  to 
be  found  in  only  a  very  few  of  the  known  specimens  of 
the  Turtel  Taube  of  1747. 

bcr  finftmcn 


S)r<r$i  <BCtf!(if6  ^e<5  <ini»iVMttf  awfr  ®fif(  ttUct  6<i( 
<\  nml  «uf  mtlnfit  ajDfrn  ip  tatnlic^  (\m|Kn  a\ii  bet 
e<tin{tOn''  u-  tTl(^<TXum.;S<lt,  ia  14  fct  fificmCrtft 
ninmir  N<  ^fbtn  fuuat  ^Jn^  ffft  trar  feu  ©oiffjfn  m&tf, 
nagt:  let  Nf  m  allm  5lntju.|um  aliomir  uBriniu  i6un,n>u< 
Itrc  rcn  gan(jftn  $(a^,^a.j^lr  mm.  Sit  frfu^ia  fwu 
ju  mtln  Cflxn  fflbfl,  ouf«  du;  ft  tflb  ^)I^  aHf*  fa^t(n  luflhi, 
fctfj  bin  aOTflgt :  ranfl  ^Q  Mil  trnl  |Ict)  Srin  grcfi  ©ut  fc  btiufi 
(«yn3urt(ti  mug  ;a  fbf}  wt^  fig  Khoi  laifcit, 
ftflHn  ten  ftrrfmi  ^ftpmlnr^  4.  Ucfc  rtgWtttte^I  (<{<<«, 
ittti  ^o  ntftrMrft  mnnSKtntJl*  trJrt  14  tnaffifn,  fo  66» 
1.  !Siinmi  Nft  ru  fe  butM*  ro<t  nl<tt  auf  ju  flrbm  brt» 
trtn  armra  Ihcn  Dn^€flm(ll?jnrIraJ;  ^^^  cb  ftticn  in'ojKtoi 
((ft  binra  nKtt  nn  Srlti,  Ntlag  ^^^3obt  tttriibt  arfH" 
fel(tK  tragrn  fan;  »i<  mlct  ftn,  fo  ttrtg  «t  ^o<t,  mfln 
tann  trtnt  ® ut  im  tflt^nlrtPi'CCtt  tsitf  mtr  nint  fJttm  bfp 
fluftdumm,  Mg  mufi  ffriurifjCbalrl*  ^a  Onmmtr  <»tc))  la 
tytimauftftnnt.'fb<it«-.^hu^n  b<triU't(n  liigfo,  fc  tt>at>< 
!(t  babf  la  rnn  hcb  m(m9[lt*.i(b  ^p<t  ncct  ten  ®cftf<  Cii# 

Stn9f^ol,un^  bub  bo<taUnifl«ff  fiiam. 
lagftn  fumftli*f«Prb(n.    I   f.  a>«t  (ft  onmx^  jnr  Qrit 
^Y  ^xma.  wratfRn  fl«i^fTfribt  ircft  tjaboracn,  nxU 

HVMNAI^  OF  THE  EPHRATA    COMMUNITY. 


3. 

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71 


CHAPTER   V. 


The  Turtel  Taube  of   1747.'     Foreword. 

T  IS  written,  *'  Behold  a  Tabernacle  of  God 
With  men."  Rev  21.  There  is  a  dam  broken 
of  the  heavenly  ocean,  through  the  forth- 
coming of  the  Church.  Which  from  eternal 
ages  remained  concealed  in  God,  as  between 
Father  and  Son :  but  in  due  time  appeared  among  men, 
and  has  now  as  in  the  last  days,  shown  forth  herself  anew, 
with  vigor  and  strength  as  in  the  early  ages. 

This  holy  Church,  having  through  the  heavenly  dove ; 
which  in  the  early  days  decended  upon  our  high  head 
Christ,  at  his  baptism ;  appeared  in  the  world,  and  from 
time  to  time  drawn  souls  unto  herself,  who  under  her  pro- 
tection, remained  steadfast  unto  the  end  in  their  calling, 
we  believe  the  Church  to  possess,  a  renewing,  reviving, 
and  sanctifying  power.  And  that  all,  spoken  of  by  the 
prophets  and  apostles,  which  should  come  to  pass  in  future 
ages,  finds  its  beginning  in  the  Church ;  in  which  all  the 
wonders  and  powers  of  future  glory  ai'e  found  concealed. 
Whosoever  therefore,  honoreth  the  Church,  honoreth  God  : 
for  God  is  in  the  Church ;  and  he  that  abideth  in  the 
Church,  abideth  in  God,  and  has  his  free  city,  where  he 


Origrinal  English  version. 


(53) 


54  Music  of  the  Ephrata   Cloister. 

may  find  protection  when  pursued  by  the  blood-avenger  of 
the  powers  of  darkness.     Deut.  19. 

After  the  same  manner  in  which  God,  reveals  forward 
into  eternity  through  the  Church,  all  his  mysteries  :  it  also 
remains  for  him  to  receive  from  the  Church,  praise,  and 
the  glorifying  of  his  name,  unto  everlasting  ages.  In  ac- 
cordance with  this,  it  was  ordained  by  the  spirit  of  the 
Church,  or  heavenly  dove,  that  the  talent  of  singing 
should  be  added  unto  spiritual  services,  and  be  employed 
in  outspreading  the  praise  of  God  unto  endless  ages. 

By  the  use  of  this  talent  the  holy  angels,  made  known 
the  near  approach  of  the  Church,  when  they  at  the  incar- 
nation of  him,  who  was  the  heart  of  the  Church;  entered 
within  her  borders,  and  by  singing  gave  honor  unto  his 
appearance  in  the  flesh. 

We  who  were  lying  at  the  hedges,  having  by  the  good- 
ness of  God,  been  brought  unto  the  Church,  that  we  might 
become  heirs  to  the  kingdom  prepared  for  the  righteous, 
through  the  sanctification  of  the  blood  of  Christ,  he,  who 
is  the  heart  of  the  CHURCH.  We  have  in  this  Church 
found  a  strong  support  in  setting  forward  our  spiritual 
labors  ;  and  greatly  find  ourselves  indebted  unto  her  for 
the  many  privileges  bestowed  upon  us,  from  which  we 
have  derived  so  much  profit.  For  until!  the  present,  she 
has  been  unto  us,  when  forsaken,  our  spiritual  mother ; 
when  comfortless,  our  nurse  ;  in  cold,  our  garment ;  in 
heat,  our  shadow  ;  in  shame,  our  crown  ;  in  loss,  our  gain  ; 
and  in  want,  our  abundance  :  yea,  she  has  outspread  her- 
self over  us,  with  her  wings,  like  a  hen  over  her  little 
ones,  and  protected  us  from  the  robbing  hawks  of  the 
regions  of  despair. 

We  nevertheless  found,  upon  entering  into  the  Church, 
a  contrariness  of  things,  between  ourselves  and  the  spirit, 


Hymnals  of  the  Ephrata  Kloster.  55 

preparing  the  way  to  a  newness  of  life.  For  as  said  be- 
fore, God  having  ordained,  that  through  the  church  his 
name  should  be  glorified ;  there  were  required,  voices, 
hymns  and  music  written  for  the  use  of  the  singers. 

After  the  manner  of  heavenly  things, there  was  found  in 
the  Church  an  outflowing  fountain  of  good.  On  the  con- 
trary, our  state  of  being  brought  this  with  itself  that  the 
good  which  flowed  from  the  Church,  was  continually  con- 
sumed by  our  selfishness  :  through  which  such  a  loss  might 
have  fallen  upon  the  Church,  as  would  have  exhausted  the 
original  fountain  of  good ;  had  there  not  remained  in  the 
mystery  of  the  Church,  causes,  through  which  her  losses 
could  be  restored. 

Now  as  such  a  selection  of  hymns  and  music  adapted  to 
the  worship  of  God ;  was  not  to  be  sought  in  our  own 
abilities,  nor  in  the  power  of  the  unsanctified  mind :  (for 
by  the  unsanctified  mind,  heaven  is  constantly  being  locked 
up,)  but  in  the  abilities  which  God  bestows  :  so  we  found 
it  necessary  constantly  to  renew  our  diligence  in  practicing 
selfdenial,  if  at  all  heaven  should  again  be  unlocked  at  our 
natural  state,  and  the  praise  of  God  from  thence  brought 
out.  So  much  then,  as  we  made  it  our  object  to  gain  a 
knowledge  of  church  music,  and  to  improve  the  talent  of 
singing ;    so  much  was  the  toil  and  labor  to  be  overcome. 

In  this  way  we  were  brought  to  see  the  loftiness  of 
heavenly  things,  the  little  value  of  our  own  works,  and  at 
the  same  time  were  placed  in  a  state  of  poorness  of  spirit 
wherein  alone  the  highway  of  holiness  is  found.  Isa  55. 
For  the  Church  does  not  allow  us  to  suppose  that  we  of 
ourselves  can  accomplish  any  good ;  and  he  that  has  with 
all  his  works  become  subject  unto  the  Church  ;  the  same 
has  indeed  attained  a  deep  state  of  spiritual  poverty. 

On  the  contrary,  so  far  as  consolation  is  sought  in  the 


$6  Music  of  the  Efhrata  Cloister. 

amusements  of  the  visible  world,  so  far  we  lose  com- 
munion with  the  Church  :  the  spirit  of  singing,  as  the 
heavenly  dove,  retreats  :  and  the  praise  of  God  is  no  more 
heard.  It  is  therefore  of  the  greatest  importance  to  be  al- 
ways engaged  in  laboring  for  the  prosperity  of  the  church  ; 
and  it  cannot  well  be  expressed  in  few  words,  what  atten- 
tion must  be  paid  to  a  careful  walk  of  life,  and  what 
acquirements  are  necessary,  to  establish  excellent  church 
music. 

In  this  course  of  life,  there  is  learned,  the  constant  coming 
off  from  one's  self ;  which  is  by  all  means  necessary,  if  an 
agreement  of  understanding,  and  a  unity  of  spirit  is  to  be 
brought  forth  and  established  in  our  midst.  Therefore,  as 
all  this  is  found  in  the  Church,  we  may  expect ;  that  therein 
trials  without  any  cessation  will  continue  to  arise  ;  through 
which  our  human  nature  may  be  so  far  subdued  as  to 
allow  the  praise  of  God  constantly  to  flow  from  the  heart. 

We  also  have  in  the  Church,  a  sure  prospect,  with  respect 
to  the  salvation,  which  shall  in  due  time,  be  revealed  unto 
all  those  who  did  not  flee  at  the  approach  of  trials,  but  have 
sought  to  remain  faithful  in  the  service  of  their  divine 
Master.  Here  it  nevertheless  at  length  followed,  after  we 
had  long  silent  remained,  that  our  spirits  aroused  under  the 
pressure,  and  coming  to  a  state  of  heavenly  meditation 
gave  God  the  glor}'  who  called  us  to  such  a  work  which 
far  exceeds  anything  which  the  natural  mind  is  able  to 
comprehend.  We  therefore  feel  inclined  to  bestow  the 
highest  praise  upon  the  Church,  for  having  brought  us 
under  her  control  and  government  that  we  without  her 
consent,  are  not  allowed  to  determine  upon  some  particular 
course  of  our  own.  Which,  in  like  manner  as  it  brought 
trials  upon  human  nature  it  also  had  the  tendency  to  bring 
to  light  an  abundant  supply  of  hymns,  and  that  for  the 


Hymnals  of  the  Efhrata  Kloster.  57 

most  part  in  those  directions  where  the  ice  was  first 
broken. 

In  a  general  sense,  the  hymns  contained  in  this  selection, 
may  be  looked  upon  as  roses  which  have  grown  forth  from 
among  the  piercing  thorns  of  the  cross,  and  consequently 
are  not  without  some  beauty  of  color  and  pleasantness  of 
fragrance. 

And  so  far  as  the  greater  portion  of  them  is  concerned, 
were  brought  to  light  in  the  rigid  school  of  the  cross, 
within  a  period  of  many  years,  and  for  the  most  part  by 
persons  who  labored  much  for  the  edification  of  the 
Church. 

The  spirit  of  the  Church,  having  taught  us  in  the  course 
of  our  spiritual  labors,  to  place  a  high  estimation  upon  the 
hymns  of  the  followers  of  Christ,  brought  forth  in  their 
trials  under  the  cross ;  and  believing  them  to  be  instruc- 
tive, we  have  concluded  to  secure  them  as  treasures,  and 
have  in  the  compilation  as  well  as  in  the  print  of  this  work, 
applied  our  utmost  care  that  no  errors  might  occur  through 
which  occasion  might  be  taken  to  give  our  labors  a  low 
estimation. 

But  to  speak  yet  further  of  the  compilation  of  this  spir- 
itual work ;  it  is  a  field  of  flowers,  grown  forth  of  many 
different  colors,  and  of  various  fragrance  :  as  they  were 
produced  by  the  spirit  of  the  Church,  out  of  the  Mysterio 
of  God.  In  some  the  spirit  of  prophecy,  soared  above  all 
mountains  of  the  cross ;  bidding  defiance  to  his  enemies ; 
setting  forth  as  present,  the  future  glory  of  the  Church. 
In  others,  the  spirit  trod  into  the  inner  court,  and  exalted 
his  voice  in  the  holiest  of  all.  Again,  others,  have  the 
pleasant  odor  of  roses ;  others,  on  the  contrary,  sprung 
up  upon  the  myrrh  mountains. 

[Here  ends  the  fragment  of  the  original  English  version  in  my  possession, 
J.  F.  S.] 


58 


Music  of  the  Ephrala   Cloister. 


[Now  as  the  Church  hath  extended  herself,  so  also  have 
the  voices  increased  in  our  own  spiritual  school,  in  which 
our  hearts  were  the  praise  of  the  great  God.  And  any 
one  who  has  had  only  a  limited  experience  in  this,  our 
spiritual  school,  can  readily  perceive  that  in  this  entire 
work  can  be  found  naught  that  reminds  one  of  human 
effort  or  wild  fancy,  but  that  the  words  of  the  spiritual 
songs  herein  contained,  sprang  from  many  and  varied 
emotions. 

Here  we  would  conclude  our  foreword,  did  not  an  impor- 
tant matter  still  remain.  For  after  having  come  into  pos- 
session of  so  rich  a  treasure  for  the  praise  of  God,'it  became 
a  question  in  our  spiritual  school  how  our  voices  could  be 
cultivated  for  spiritual  song  ;  hence  such  a  matter  of  spirit- 
ual practice  became  imperatively  necessary  as  would  bring 
the  voices  into  spiritual  harmony  and  at  the  same  time 
make  our  sacrifice  of  praise  conformable  to  good  common 
sense.  Therefore  we  will  now  impart  the  preliminary 
treatise  on  singing,  which  we  esteem  necessary  to  give 
completeness  to  the  work.] 


[As  the  first  part  of  the  German  Prologue  does  not  bear 
directly  on  the  subject  under  discussion,  we  give  this  only 
in  facsitnile.'\ 


Prologue  of  the  Turtel  Tauhe.  59 


CHAPTER   VI. 


Sine 
©f^t  tcutli<$c 

©egctra 


Jn^r^r  S^^'«*^nm&  W<'(Jrl^fnns  MltV  f*  ^I^pTm  K  <?(!«  2 


6o  Music  of  the  Efhrata  Cloister. 


X?dmi>e  fiber  bieQutg^Strbott 

trtbcp  ^<n  ©(5ffIidKnQ5ricf  l>cr<25cttfc&affr  tctf  §rf<c»m^mjf.lxni  @i<g<(  t>t$ 
CEr<ii9ctf,  ici&m^  ii.<Sfcrtcntf  <nif)«n^i^n&oi9cla|Xcn,mtf  ttmQJtfcJifrfo^cli* 
't^oftfiMiff  rtu^Jiifflg^'i  brf  an  DU  ^giiDe  i>ct  "IrDcn,  ^l>d)  fc ,  Iwp  fit  fo«e» 
aarttn  ,  fci^  fit  an^fftxui tvurOta mil  jtrafff  (xwi  J>er  ^^f)<^  KOiSAit  aHW  a» 
fuKtf  u.  3cfd><fj«n,  Dap  D(r  ^ufjatv)  au^  fccr^6|)<  ton  Mrtn  ftcfti'iixr  tw^an* 
ije  <&6eflii^3cbrtifcf/^imt»  W(^fffd)afff  \ni  ^iivM  mir  0Oft*faf?  aile» 
^D^Mfcrn  fund  tvorNn^  fanu  &<m  0(f)(imnf^  Xxi  <Sx<\wir  worouf 
((r  Srictcn^  '  (Sonrroa  txrii^u.  ^a[Kto  (^  ouct)  ouf  dnt  gar  tvunt<rto€ 
9^^  (»dD  ail  (in  fc(((am(«  '^urgcn  im^  @(i)(ad)r(n  gin^/  |tt  totl^ 
d)<r  ^dt  ftc^  ^<r  6«arat  von  txm  ^or(  tx^  UiKn^  \xvX>  Ui  (Sruiq<^  d<« 
0<f/  «»(&  forf3<wa(ftfm  uni  b(*  <inf  tin*  fomoKt^,  Un&  ttxiftn  <r  gar 
xvm>x{vX\\&^  nU<  ttrftlb^cft  ^offnung  txrfmipfft ;  fo  ^  fid^tf  «ucf>  jit# 
gwragm/-  \xs%  »ir  ncb<rt  l«nc»  mi^fanun  €rciij<^  *un6  id&<n^ «  <Sr3n^ 
^n/  tvomtt  tvic  bdadtn/  al^  ^a^  <!Borr  d<tf  itixntf  im&  ^^  <^K\\^i  Att 
imtf  eom^  (uic^  fodldd^  mi(  bcmfclbtdcn  J^offnimg^*  JC((<d  t><6ab<t 
wnrDm,  uni>  iwrt  iin«fe3l<M:&^  <m  |)dl(^t»  <5dKui<it  5<5«b<n,-b<n^3bct 
»6fl<d<n  €r(ifitn3  nut  wBo  2tudm.  txi  0<i|U^  dniufebw.  Uirt  «> 
itir  »o(  ntbm  Htn*  (n-lxn  all<r(<fHn<r?{)afff((?mlln&Wf«T(Tm(«i^cn^♦^(*<f• 
fllm^<n^  fo  jog  un^  i>o(>imfcrJ>offmtn^^^Ut>  fmm<r  fccrr  (><mto^  tw  ouf 
t>m  ^^3  tier  €r(5fiin3  W<  il riming  nw  wa<ii  §r<iiJKn  folgtn  tdr&y 
»<(cf)<«  Diina  «{(U  lUfactxn  an  W<  J?an&  3rtl>,  b*f  ©<t(Ta  offf  ongtjMtti 
ttiictxn  m<t^rafft  au^  ^ixS^h^Cy  alfo  ba^frtr  off^  mlxtt  uiTf<nrun4Wi|t» 
5<n  iciDcnfc^fftca  <n  ©(<i#<tt  &<r  ^nafffcfKn-nnfr^tmrnKfc^n  <i5^rm  onf* 
9«03<n  wurlxn,  nxIcfjtiJ  un^  n<d>t  attdn  6<pBtm  freutJ^m  2l»f  »mi&  21b* 
fefigm tKt0d|I<rnrd)(eonf<  (afftn  (ttflcfqjn,  e^Mf  »te  nfdK>i««»if»Jk» 
in^orun  onibric^en,  urn  ^kQSlm^et  »nfcr«  0o(ft«  ju  wtlberfl((|w»^ 
fbnt<rn  roiirim  fo  aidd)  nad)  2(rf  £><r  ^.ftigUfc^m  C^m  not  t^Oi«lf 
^errfci>4(fcmim6  <^xoo\un-^wf,<txw.\><n,  ixn  20lm(^d)f<9cnro<ti<d>»m* 
iob(6t  s  ©<|\\n3<n  jii  »<r<f)r«n.  Uni  ob-  itvor  «»{ Ht  S^'^f*  *^  €ndWf 
fiftin  (Jf)dr<if)r<  it<&<rmtrun^<mfhmrtW<n:  fotwr6»  tt><r  twd)  sewo^r;  tef 
imf«r(  ©rtmmcn  tit  twrtaflt  3<"<'»  »"*<  ♦^o*'*  ttBffoffmr  tw9<mt<t 
onnodfr  anun^  nragendtn^  ©robt^^t-  ftv  &<t  noc^  nl^r  gAft^itd)  3t<r«i»si9t<r» 
SSloAwXf  nKld)t^  bq;  «n^  dn  gtnaiittf  2tiffmtrcftrt  t»tnirfad)tff,  "tStttif 
^nn.  aa<m»a(Kfen  iinfcrt  imftWAfK^t  i«5<nf;lMff»cn  iw<?  ^utf/- (bnB«m«B*^ 


Prologue  Continued.  6i 


t<n.  tnc^r  ^(f;(iiiff((/,  tiKJlm.  tvir  ctne  Unttic^n(}f<it  hiX)  iin^  fptirctctt/  &a^ 
»ic  ©^^^;uc{)(  fonf«it,  na(^  I«m  »>pirm  ©nDntcf.  t>«{f  ©d|7c^  fter^rrlf* 
<^€n..  QJJiwoJ  twp  crfmncn,- 1>«^  WeSBcuiir  nt<^  gan?  unrcr  t<m  Srcuif 
aufg<rt'cb<n  wnb  »{rnfc^t«  jpntKrn  Jinto:  i)cmf«fbeti  g4<i({g«  unfemn'ne 
(Endf<fc&«*,Slar^a(aiif3d^f«r'liiu(ff«  wccJKn.  i5?(6m  ^<m  &rtcf)fm  t»tr:ffl 
iinf<r<  07rtfUr.  nfcftr  «mna(.  6«)4,idm  umit  ti«iu(«d)cn'^i>n  j«  citwrn  (Sngli* 
fid&m  ©<fai^  ton  (tcft  jiu<(»m:  aieweDktt  tw'r  bmm  nicfefig  f«i>n  jit  wicfi* 
Kgcm.  ttO^()6()<rm.(S)fnjdi,  mmlic^  »o  man  ©Off  im  ®d(l  o^n  Untafap 
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ri.WbK  unD  ©«jgcr  fcpn  ^<mp<(  imtx-^Sofiniingm  &tf  ^ttt'gm  ©dffttf: 
lttn».ha:^^dttg<  ©d(i  md)t  wo^mt  in  eitum  unra'mn  @<fAfe /.  fon^cm 
WirtH  frtubtm  ©<i(T<m.^cr5eniinb  9?rtmrm. 

*  JMtfc^^f  untf  Urfad)  ^gcbtn  ©O'^'i  fluc^  venmifmmjfMe  oDrt* 
(<iub'<r|I«^«rc  auDiencn:  tteifm  wir-  tt>H(l<n/6rt^  (Sr  f«nm  ©ef*U 
(<p;aMi«m.©q»(5tt  b<r  ^^cft  imb  ©cfcf)«t^  txr  wtttxn  '^i<re;.ab<r  wol 
«niXmti>tKftin<c^'li3<nf>«.  Unb.  tt>«i(CH wir  tann  mcr(ffcn,b40^er 
€feifl  bee  Btttgettd^ro-gort^uberlt^)  win  bc^wnetfcytt:  foso^ 
t^.-rai^  mt^  Urfrtd^  mit  iettifdbm  in  §r«iml)f^f]^-  iin^  rinjurafftn ,  <x\$  \\\ 
g<l>«nc(<n,i>fl^.  <wa<6<»)  ^t©a(^ju  tjetfimn  »4r«  ,»!<  wit  a  <md)  <rfd5# 
Ktt.  Skiutt  fo6rtr^.  »it  imtf-dnfiefmrfi)  fcini)m.tt)ir  m(J)f  aKcfn  f<in< 
Urfo^  jut  (d(i&(finnij<tt.§r«it»«  «n^4uf^,  fonDcrn  tt5»r&«n  fo  gfdd)  mif 
XfHii  oflerbimrflm  un>  wc^miittgflert  JLcibcitfc^Afft  I)<l46<«/t><»f 
mcfir  iiof<r(-  d<in«t  -  0)Zdtf(&^  taran  dccKit^get  tvar .  Und  tvei(m  mm 
iifa^rgtfMKttWar,  Xnca4d&<nfcf)affKii««^  ixm^ge  ju  ge^m;  fonlxm 
Wi<f»? fht>«n/- uwfr ^f( on amOajercf :  fo i(l^  9<fai<l)<rt ,, t>4^  ttttfere gatt? 
ee-tnet^l^ete  rt44)  cbm  bcmfclbm^r<tb  berJlcibm  tit  cirtc 
Savtffe  ^4dE)U4>t^44)tmg  H«b  JDinnl^ctt^  Scbr<wbt/  ivortiur(j& 
Wltrbinstf  t«r  rdhe  tm^faiitKre  ©dfl  ^©5ttfidKn'Sjdf()dff  of^  tirdtt 
|D)W(l<r.  bi<f<r  ^o^m  «n|)©^r(f(J)<n^imf?i|I,  dn«  offe»<'^'u^t  acfimDm, 
«nb  uttinacfr  oflm  unbftbm  Gradcft  txc  4db<tt  e>i<f<  iCtfgUfcb^  @tns« 
Bimf^  aufi3<ft(a<((^  HMf^  fkl>  cnMid^  fo  mi^  ou^gctodttf  /  ba^  mx» 
ttn5«  flHb(t  tO^Aotf  nof^  ^M  m(|r  bannnm  tn  ftnbm  war.    9!B^^  m% 

ifXi  numotK^  d<t»t^<d<^tt<u^^M(fe^f)o(^ff)atr(@(f(lKn((  nic^f  fur  ^\^Ai 
HiMt  bt^ttn/fottNm «t4l(g}mai^§0i^(r» ^ ©^»Ii(^  iinb J^ttnuM 


62 


Music  of  the  Efhrata  Cloister. 


XXthVt  W  0irtg«2lrbrft. 


ft<  9<<j<b(n/  iinb  iintcrvicl  0<&ii(funb  iangmuif)  naclxinanber  aiifgtju* 
fjtfr.  Hub  ob  wir  aiicf)  fo[t<n  von  \n\\Kn  tnejflcm  un^  :&t^nfiHfrrt^tr 
ir^ifcbc^1  uttl)  urtterctt  Wd^^cit  gcfabcif  nnrbdi,  trdkn  ijir  flnnoc^ 
tnir  Dicfcr  unfcrcr  <bkn  0»\b«  in  M(f<m  iinKrn^f)(il  tcr  QBcfr  jur  JJXrbtr* 
gc  fmb/  imb  bocf)  nidjt  nacfj  fccrfcfb<n  ©(ad)f)«t  na(t  Hnfrcr  fJofKn  ©ofi* 
fliiftrctcn:  fo  vtvgcrmjar  foWxe  nnf<rn  cbUn  ,@cf)a^  nidbf  fltt<fn  rri(f)ty 
fonbcrn  b(itiif)vc(  tin^  mu  b(mf<(b<n/Mf  n<^  n*^' ««>««  $r(mb<^  aHjii  fd^t 
ixi  un<f  vcrfubc.  S)ann  fo  tvir  mtt  bitfcr  ^o|)tn  ©ab<  -nftt»  -Anba(l  <r» 
fdjtincn  f ontcn  rtl*-  nod)  2trf  bo:  ^unf?kr  tlcfor  ftdjfbartn  ^<Ir  *  QBof^r^L 
fo  tr(Sr<  ja  f(in  Untafcftdb  jufcfjcn;  ob  Otcfit  unf«<©ad)  »ob  untm  ^/ 
ottr  ob  ftc  von  ob<n  %vc.,  ob  fie  ait^-Wtfcr  "SBcff  /  oD<r  von  j<na^<(f  QBjl^ 
(Kt(  cnt(Trtni)(n;bocf)  tvoDcn  wir  imS  nlcf)f  f^ng<r  m<(  -fcicfct  @flc^  auf» 
^frcn;  fontxrn  nnixor  forffa^<n.  tinb  ivicwof  tvir  rtHcrbfng^  nrtf  tfefcr 
nnfcra 3Jor(?<tfim9  «m  (Snb  firrt*:  foiflnn^  Dodj  b«tf  n3(f)<3(T(  unb  niiijlicfi* 
fc  nod)  ubrf'g^ -tvorinmn  befcfcmbm  fott  nxrbm/  ao^  ju  aDcrtrf!  n6t^j 
t<i)  dntm  rc^frtrngcn  icljrsiJJJdfter  )u  obfervircn  i>«j  ><nm  ^o^mbot 
ie^r>  3""9<^"  ^^r<f  ^o^<n  it>mf?,  unb  iva?  ^<rm\(&ii<<  ©odj  in  i^txx 
5B<fen  unb2(txlf<tje/  nxmn  mmhcf)  tqj  &<r  ©ac^  4(51/<bm./  ujit  fu  nicftc 
tnit  frtmbor  9)Zafm<  vmntngtt  tvirb.  i^tniacft  foU  autft  fdbfl  femtn  ge* 
iibftn  ©djufan  (n  nnftw  ©d)itl  <in  griinblidjcr  ^^crfdjf  von  b<m  ©ctxini* 
nii^  l)<r  3rtn5<n  <Sa(^<  <rrf)dkr  tvcrbm:  ivtt  jit  <rp  flD<  arrtn  b<r  £K<foN« 
<n  <n  fid)  f<Ibflfl)re<f9<n<  £D?ama:  jniD^trt  ^b<n:  t»l<  iint  4uf  »a5  Q]Bd< 
f<  Duanbern  @ftmm<n  311  i>affcn/  imb  iva«  vor^iuftftofrm  <Hif  dnc  jrt< 
dSWfc  nad)  tl)rcr  "Xrt  cinffcffin/  bfl^  |i<  m^f  rfiiflvffipOTurcn,  4mb  <<««»» 
.^  <nf3tfitn  (rtiiff<n.    Unb  ba«  ivoU<n  tvtr  ff)nn  fo  tRi  ^$<b«u 

3Der  ^immel/  t)cr  ficb  fcbOrt  ror  Imtgett  Seitim  Ai»f  ttiw  biri 
n(ct>er  ttclaffert/  blcibc  4tiJF  one  bcrut)crt  mit  ^er^ftTtgert  Cmi* 
be  l)i<  bie^tro  wttfcre  X?oi#cl^crin  ntib  ^Ut^geberin  gctvcfm 
in  rtUm  unfcmTOcgert/^rtftciirta  tmtit  Dttt^r  vW  <BWujlt  i»ti> 
ItiDcnfcfeflfFt  tfifi  (Efe^cimuw^  tcr  iiebc  wnftr*  <8fotcc6  »ew 
|?tlet  /  ^ort^e^rt  X>\t  pfortcrt  tax  bctmUcfocrt  \ivi>  ^i^x%mm 
ttoei^^cit  rtufgcficgclt/  nrtb  ^i»  xitte  \)tx(i,\\e,   gtfrftm/ liH^  tai 

(tt2.)  ** 


1 


Prologue  Continued.  63 


)Owrre^e 


ixv^  A.  Sct)<»u<n  uit»  aitgern'oct/  tmi  mie  t>cr5lctcfoen  ©adxil 


21^97  ttjir  fcf«n    6<ja>r<ftcn  ><n^t«u?<n^  fo  ttJr  6<9 
)0«(t9en{)di  Mcftr  6a<b<  <rfa()rm:  fo  («(«»  ttir  uns  tuol 
MRg  UncnMidx  auebidrm  mufftn,  nwiUn  tt>it  in  (grftw* 
i>ijn9  W<f<r  ^o()«n  @ob<  grtrunscmdm  ^0^  Studien  <rUr« 
n«.    X>a  n>frfftH«  nicfet^Ddn  iinftrn  ©<tt>fnn  (Ui^fcow 
$nmj<n  l>(r  @a<ft«  ftlif?  ()ol<f«n:  fOMlKm  «vur^cn  04»^ 
itcbm  6c»  5o«Bert  ttTenfcbcrt  2U)fsU  »^ii  <S>(Dcc  bjn(>$g/  wte! 
itemlrcb  OemfeUxn  fo  0ar   nt4>(9  C^tperltcb«»  uber  gebttebeil 
VOtt  ^em  tva^rcn  CSucett/  otxr  attcb  nur  (tm  blinix  ®e|lait  /  top  nttr 
dn  ^(5  f^m(  toon  &<m  n>aJ)r<ti  QB<fcn  iJorgcfTcCrt  twrlxn;  fojifictn  d^ 
l»Mr(0  nn(  (cM^t^S^tc^^^fo^n^  Dat;  wOxr  @((Tal(  noc^^rlKtr  von  *xmA 
StB4'=Nf^<^  i>ariu(?den  vermas^  tt<(cl)<£r  <tlk^  im«  fd)r  f(dn  un&  d« 
rtig  4n  iraftm  jiamm  2fu3<n  ma(i)ft.    S)fltq?  trtr  olfo  IxmtKK^  -in  liiefai 
itnfmt  ^cbufen  nK()r  (Srfa()rim<)(n  <r(cm(t^  ol^juvprft}  v((Un  unt)  (01150 
JjA^rfjm  tdNn^utt&  ©(aiib«n£S*QBc3m/  t»d(tt»  \x\M  *Uf<  ^o^<  -©c&uK 
tfHui  wnfrcn  ^bun  9C<f(t)tl)Hm  im&  Sd)6n^(  t<n»<9  «a|^n/  «Ifo  ^rtf 
tthr  mm  jttfs  torau^  jortt^nUcf)  fii^cn  Dirffen^  «i<  flii*  oDcrfetos^  n*i 
*t)<9  l«  *<fftn,  fontxrild)  In  2{nfc(wi3  Wcfir  ^<n  ^vM^va  ©flb«un> 
^(fcirft/  Mf  n><r  g«flln^<n;  nnfcfieg  twr  flCtiting^  tvoflw  <m  W<  ©pfw 
gifttft  ^n;  wfe  *4^  n€nilicb  tew  rim'ger  tHmfct)  t>on  2»am 
H.^  ah»4  fltborctt  ventage  <inert  6eijt4tcbm£^«tt  oonficb  3«»  ge* 
boi/  bn-  m  Wefer  ^Me*3t>  P4flc»t  tt>«re/  tto*  weniger  emeu 
I«^*<*tti0cn  ®ef<ma  ^Iffett^u  3ierm.  95Pol>oi>  p*  am  iiKtjTm  jrf 
»«wtn&<m/  ^g  ft^  ^<r  ^efel  bee  S^ne    Affemol   bartntteif 
f  nbrt/  iiemlicb  b4f  er  bit  ire<bt4rtt'ge  ^$^e  ni4>e  txvtiibet/ 
tit  in  d<m4i0e(mm  btefer^Ct^enBoinfi  t>Ortomt/  teoraii^jumacfenf 
Jof  feet  nariirWdK  9)2<nf(I)  »cn!m(mj)<t  u.»on^riJr&<n/>i<f<  ^o^t-^unp 

cTdl 


64 


Music  of  the  Ephrata   Cloister. 


Ucbcr  hU  QirtgsJlrbrft. 


<fcrt  lln^  ^<xWm  <m  ©injm  toif oinmr ,  t)a  in  flttcn  Um(?<l»t><n  nicmo* 
Im  \K^)  timber  ^c*)!  jo^a,  jxr  im  ^Ijm  2tufficjgfrt  utxr  ^<B  redraw 
iitjcn  '^f)c>n  rerfommr,  m<(d)<rf  twr  aU«  in  viclcin  iiii^  wicfjrtijtm  t)7acl)« 
Ixncfcn  b(f)crqi3<f,  tvatf  lusndct)  txr  rtb^cfaHoK  gjZmfd)  f<p<,  imO  wUutu 
iu(^ti5i  CT  f(ij  ill  Oofffidjin  ©adKii,  wc^wcgcn  w(r  flacrNn3tf  an  bitftm 
£)rf  ttolim  bc«  2(nfan3  madjcn,  tucif  foldjctf  iu  flH<r<rft  t>ortotnm(.  5>ccft 
<t)c  wit  tvcffcr  fdjrtudi,  tvoII<ti  tvir  (inm  @d)riff  jiiriJcf  gtfxn^  unb  |U 
trf?  nod)  tin  tvcntg  bcrnu^ttn ,  vMi  n<btu  btm '  fla<m  (it  b<«r<i^  tJ^t)*" 
^im(Tgct)or<,  bicwcif  «nf{r(Sinn  nid)t  darfliif  «iig  i^,  bufcr  t)ot)m  ©ab« 
txr  von  0O«  ^od)*gradirccn  ©ing*  j\iin(|-tul  ©djmiicf  unb  (£!)«  m 
Sfliorrcn  dniuUscn  ^  tvciUn  (It  fd)cn  iiivor  all<0  bvffcn  voff^  unb  gmiigfant 
<!?,  ftd)  fcfbcr  anjiipKcfen.  ^arum  twr  untf  (lud)  mdK»«<t  nrf(  bffgJacfKli 
©adjcn  woacn  fliif(>rtl«n,  fbnb<rn  jur  @a4  ftlbfl  fd)rd«n;  *(X^  tin'SB** 
nigi:^  (m  3}orbep3clj<n  mcUxn,  ttxld)««  W<f<tf  f)ot<n  ©<<^<^  %xi  ui* 
9C<f<n  ft«jc,  unb  biirdj  tvatf  QiRitfd  »tr  ur«  btij  3^"*  timm  btUebmw* 
d)<n,  bii^  ttjtr  <n  fdnc  @(ct*f)nt  fommm. 

^ie  Wei^^ric  vort  obcrt/  6ie  bts^r^  urtfcre  gi^awie  Kot^ 
B<bcrm/  Jd^rcrirt  u»^  ^  Unterrictx  g<wcfcrt  in  «Utit  Urtfem 
W?egcrt/  wrtt»  una  fetefw  ^oct)t^eur«  (Ekfd^cttcf  aiefleg^f  »«» 
Aufgel^^fct;  Dte  gcb«  fcrfterl^itt  cm.m  |c0lt4)eri  /  t4^  «t  in  fcuKiVI 
JCI^urt  (0(I>tt  Seffllhg  ttn^  ^ctt  tnenfcDcrt  wcrt^/  fo  wit^  ficj^ 
aucb  wol  ^i>  <B4bt/  fo  ju  differ  ZUinfi  gc^^rrt/  mit  firt^en. 

£)b  itvar  tto(  b<9  w<i<n  Untrif[cnb<n  tUk  iinb<C(Jc|f<id?e  Urtl){U<  jtfdW 
!»(rbcn,  gidd)  a{«  ob  mrtn  m<f  bKftr  wn  00ft  ()oc^<cibrittB  imb  gradi»» 
tcni?im|?  mir  btm  0cif?<  «<f<r  QBcff  <n  0l<ic6f)m  |Tjjnb<;  fo  <^nn<"  »<rbod^ 
foldxtf  ganj}  um>  gar  ni^  d<(?<^<n;  fonbmt  w<im<^  fta«  ©cgmf^  in 
<r»df<n^bcn^  f»e(Im  ittr  jti  W<ftr  t»<d)ri3m  @adx«Hb«  frtmb<  §arb<!f 
nod)  grrtiifc  ^a«r  gcbraucftr;  fonbtrn  i»f/<b<ti  aMm  b<t)  bm  a<nf(^<d)<if 
©fimmm,  di  tit  burd)  ba«  ^ettxgm  Ixr  .0<f?<n  »«&  0tt(l<r  4n3(fr<<» 
Un  in  iob  unb  <5hr<  bcm  2r[Imdd)ft9<n.  2><nR  fb  W<  gc^ciim  4W^ 
vcrborgenc  XX^ci^^cit  n(d)t  tt^rt  <ii  ub^  ()<raij<  4ii^  tf)r<r  jfCamttw  g«i 
m«n;  <«  foft(  un5  «>o(  bitf<  ©6tflid)<  ^unfl  «n  9<t)<ini«  9vAfl<l  unt  wt» 
^gc(«r  Q3rt«f  9<b(i<b<n  fctjn .  ©tnffmal  xoix  6<f^<f)cn  fd)((d)rtr  Witg#  ><m 
«(<ii  bufo:  Oi^r  fdn<^'un|?  ju,  b/<  mm  0<ftr<ut(^  t)tmmiif(^  $()i05<n& 

(tt3>  4<f 


£nd  of  Prologue. 


65 


X>wr«5<. 


<ti<d;  fonti<rn  rt&t,  Itif.x^  vi((m<f)r  t^rtn  Ur(?on^  txm  ^arabie^  t^q;;  oinx  (od^ 
fd/  t«^  <tf  (n  t<nf<l6«i  <rj?or6(n  /  wit  rtud)  fc<r  CKtnfd)  Am  J5imm<U 
ttfc^  <rffcr6«n/  wnb  &o^,  wrttin  «t  turd)  txn  rccfeKn  @d|?  <m<cf«  n>friv 

4k  IM  wrffcpm/  nxnn  ^<  bitrd)  Ixn  rcd)t(n  @a|!  crtve(£«  trirj).:  fo  gt^et 


WATERMARK  OF  THE  ZIONITIC  BROTHERHOOD,  IN  THE  TWO  FIRST  PARTS 
OF  THE  TURTEE  TAUBE,  SIG.  A  TO  M,  PP.  I  TO  90. 
These  were  evidently  printed  several  j'ears  prior  to  date  on  the  title  pag-e.  The  con- 
tinuation is  printed  upon  a  somewhat  lighter  paper.  Two  editions  of  the  Turtel  Taube 
were  printed,  one  for  general  use,  sJi  X  vH  inches  ;  the  other  one,  on  larger  and  much 
heavier  paper,  6^  X  8  inches,  for  church  use.  The  copy  of  the  latter  in  the  writer's 
collection  also  bears  the  watermark  1744. 


CHAPTER  VII. 
Beissel's  Unique  Instructions  on  the  Voice. 

XET  us  now  proceed  directly 
to  the  subject,  and  show, 
as  briefly  as  possible,  by  what 
means  and  opportunities  we  may, 
both  spiritually  and  physically, 
attain  to  this  art  of  high  degree, 
and  then  consider  further  what- 
soever things  the  circumstances 
of  the  case  may  require.  In  the 
first  place,  be  it  observed,  that 
divine  virtue  must  be  viewed  from 
the  summit  of  perfection,  and  occupy  the  first  place,  if  one 
would  become  the  right  kind  of  pupil  and  thereafter  a 
master  of  this  exalted  and  divine  art. 

"  Furthermore,  both  pupil  and  master  ought  to  know 
how  necessary  it  is,  in  addition  to  all  other  circumstances, 
to  embrace  every  opportunity  to  make  oneself  agreeable 
and  acceptable  to  the  spirit  of  this  exalted  and  divine  vir- 
tue, inasmuch  as  according  to  our  experience  and  knowl- 
edge it  has  within  itself  the  purest  and  chastest  spirit  of 
eternal  and  celestial  virginity. 

**  This  naturally  requires  compliance  with  the  demands 

(66) 


Food  to  Make  the  Spirit  Teachable.  67 

of  an  angelic  and  heavenly  life.  Care  must  be  taken  of 
the  body,  and  its  requirements  reduced  to  a  minimum,  so 
that  the  voice  may  become  angelic,  heavenly,  pure  and 
clear,  and  not  rough  and  harsh  through  the  use  of  coarse 
food,  and  therefore  unfit  to  produce  the  proper  quality  of 
tone,  but  on  the  contrary,  in  place  of  genuine  song,  only 
an  unseemly  grunting  and  gasping. 

"  At  the  same  time  it  is  especially  necessary  to  know 
what  kinds  of  food  will  make  the  spirit  teachable,  and  the 
voice  flexible  and  clear ;  as  also  what  kinds  make  it  coarse, 
dull,  lazy  and  heavy.  For  it  is  certain  that  all  meat  dishes, 
by  whatever  name  known,  quite  discommode  us,  and  bring 
no  small  injury  to  the  pilgrim  on  his  way  to  the  silent  be- 
yond. Then  there  are  those  other  articles  of  food  which 
we  improperly  derive  from  anim.als,  e.  g.,  milk,  which 
causes  heaviness  and  uneasiness ;  cheese,  which  produces 
heat  and  begets  desire  for  other  and  forbidden  things ; 
butter,  which  makes  indolent  and  dull,  and  satiates  to 
such  an  extent  that  one  no  longer  feels  the  need  of  sing- 
ing or  praying ;  eggs,  which  arouse  numerous  capricious 
cravings ;  honey,  which  brings  bright  eyes  and  a  cheerful 
spirit,  but  not  a  clear  voice. 

"  Of  bread  and  cooked  dishes  none  are  better  for  pro- 
ducing cheerfulness  of  disposition  and  buoyancy  of  spirit 
than  wheat  and  after  this  buckwheat,  which,  though  ex- 
ternally different,  have  the  same  virtues  in  their  uses, 
whether  used  in  bread  or  in  cooked  dishes. 

"As  regards  the  other  common  vegetables,  none  are 
more  useful  than  the  ordinary  ^potato,  the  beet,  and  other 
tubers.  Beans  are  too  heavy,  satiate  too  much,  and  are 
liable  to  arouse  impure  desires.  Above  all  must  it  be 
remembered  that  the  spirit  of  this  exalted  art,  because  it  is 
a  pure,  chaste  and  virtuous  spirit,  suffers  no  unclean,  pol- 


68  Music  of  the  Ephrata  Cloister. 

luted  and  sinful  love  for  woman,  which  so  inflames  and 
agitates  the  blood  of  the  young  as  completely  to  undo 
them  in  mind,  heart,  voice  and  soul ;  whilst  in  the  more 
mature  it  awakens  excessive  desire  after  the  dark  things 
of  this  world,  and  consequently  closes  heart,  mind  and 
voice  to  this  pure  spirit  as  its  haven. 

"  As  concerns  dri7ik,  it  has  long  been  settled  that  noth- 
ing is  better  than  pure,  clear  water,  just  as  it  comes  from 
the  well,  or  as  made  into  soup  to  which  a  little  bread  is 
added.  Every  other  manner  of  cooking,  however,  whereby 
the  water  is  deprived  of  its  healthgiving  properties  and 
turned  into  an  unnatural  sort  of  delicac}',  is  to  be  consid- 
ered as  a  vain  and  sinful  abuse ;  just  as  other  articles 
of  diet,  which  we  do  not  deem  worthy  of  mention  in  this 
place,  have,  through  many  and  diverse  lusts,  been  turned 
from  their  natural  and  harmless  use  into  delicacies.  Of 
those  who  gormandize  we  cannot  here  speak,  for  we  are 
concerned  only  with  those  who  are  already  engaged  in  the 
spiritual  warfare,  and  who  in  all  respects  strive  lawfully. 
With  those  who  walk  disorderly  and  unlawfully  we, 
therefore,  have  nothing  to  do.  It  of  course  stands  to  rea- 
son that  the  power  to  exercise  divine  virtue  is  not  to  be 
sought  in  the  selection  of  this  or  that  particular  diet ;  for, 
were  this  the  case,  we  would  wish,  if  it  were  possible,  to 
be  entirely  relieved  of  eating,  so  that  we  might  lead  an 
Enochian,  supernatural  and  supersensual  life.  Then  this 
heavenly  wonder-song  would  of  itself  break  forth,  without 
the  addition  of  any  of  those  things  that  are  only  transient 
and  never  reach  eternity. 

♦•And  now,  not  to  dwell  upon  this  matter  too  long,  let 
us  take  up  the  next  part  of  our  subject.  Let  us  first  say, 
however,  that  if  we  were  to  undertake  as  complete  an  ex- 
position as  the  subject  demands,  we  would  fail  to  reach  the 


Unique  Instructions. 


69 


end.  Nevertheless,  we  will  spare  no  pains  to  make  it  as 
clear  as  possible ;  but,  let  it  be  borne  in  mind  that  we  will 
still  leave  something  for  the  educated  and  practical  (musi- 
cian) to  study  and  think  over." 


ALPHABET  USED  IN  THE  MANUSCRIPT  TUNE  BOOKS  OF  THE  EPHRATA 
COMMUNITY. 


2)ie  Sing  *Hr belt 


& 


CHAPTER   VIII. 


Beissel's  Dissertation  on  Harmony. 

Translation  by  the  Rev.  J.  F.  Ohl,  Mus.D. 

TRANSLATOR'S  NOTE. 
It  will  be  evident  to  any  musician  who  reads  this  "  Dissertation,"  or  who 
examines  any  of  Beissel's  compositions,  that  beyond  the  most  rudimentary 
knowledge  of  the  common  chord  and  its  inversions,  he  had  little  under- 
standings of  the  laws  of  harmony,  and  none  whatever  of  meter  and  rhythm. 
The  work  done  by  him  and  his  associates  is  therefore  correspondingly  crude 
and  inaccurate,  and  it  becomes  interesting  only  from  the  fact  that  it  belongs 
to  the  first  attempts  made  on  American  soil  to  compose  sacred  music.  The 
translator  has  aimed  to  reproduce  the  evident  thought  of  the  writer  rather 
than  his  exact  langfuage,  which  is  often  very  obscure,  and  most  diflScult  to  ren- 
der into  idiomatic  English. 

[HE  all-important  and  most  use- 
ful qualification  in  a  teacher 
of  new  pupils  is  first  to  know 
that  he  must  not  teach  them 
merely  to  sing  the  A,  B,  C,  or 
the  seven  letters,  and  then  at 
once  introduce  them  to  thirds 
and  intervals  before  they  have 
learned  the  characteristics  of 
each  letter,  or,  indeed,  under- 
stand   what    they    have    learned.     Special    care    must  be 

(70) 


Harmony  of  the  Ej>hrata  Cloister.  71 

taken  to  bring  out  the  distinguishing  quality  of  each  letter 
{i.  e.y  note  or  sound) ;  and  this  requires  such  diligence  and 
costs  so  much  labor  that  we  cannot  here  describe  it.  The 
voices  may  either  be  harsh  and  unsympathetic,  or  false 
notes,  that  do  not  reach  the  required  pitch,  may  be 
sung.  In  such  cases  efforts  must  not  be  relaxed  until  it  is 
learned  and  seen  how  much  remains  to  be  overcome ; 
but  if  one  seems  to  be  totally  incapable,  let  him  desist  for 
a  time,  in  order  that  he  may  not  become  entirely  dis- 
couraged. 

"When  the  characteristic  quality  of  each  letter  (note) 
has  been  taught,  diligent  efforts  must  be  made  to  train  the 
voice ;  and  such  directions  must  be  given  regarding  tone- 
production  as  will  enable  the  singer  himself  to  correct 
mistakes.  For  at  this  stage  of  the  instruction  everything 
that  is  needed  for  ultimate  success  may  be  imparted,  whilst 
at  the  same  time  so  much  may  be  overlooked  as  thereafter 
to  require  years  to  make  good  the  loss. 

"And  now  let  us  proceed  to  show  what  constitutes  a 
four-part  tune,  and  what  letters  (notes)  in  the  other  parts 
must  accompany  the  melody  in  the  different  keys ;  then 
also  to  give  a  diagram  of  the  keys,  and  to  indicate  how 
the  pitch  may  be  raised  when  it  has  fallen. 

"  Let  it  be  known  that  not  more  than  three  letters  (notes) 
can  be  used  for  the  four  parts.  Consequently  the  fourth 
part  is  always  the  octave.  The  three  letters  (notes),  how- 
ever, always  appear  at  the  beginning  of  each  tune.  Thus 
we  obtain  the  four  parts.  The  three  letters  (notes)  which 
appear  at  the  beginning  must  be  regarded  as  the  masters 
and  lords  that  dominate  everything  from  beginning  to  end, 
inasmuch  as  the  tune  must  close  with  the  same  letters 
(notes)  with  which  it  began. 

"  If  the  melody  is  in  the  key  of  C,  E  is  the  note  in  the 


72 


Music  of  the  E-phrata  Cloister. 


\kt  man  m(rcf<(  jinD  ^xC^Kt ,  itic  tvdt  it  <(ncr  Um  X)i"mcfcn  jwrt)  jiil'viii9<n 
fyit,    -e^rincf  <rn?a  «nc  gan^licOc  Unf<1W6^"  I"  ft^n ,  fo  3<b<  in^n  (0  tii 
m  ^titlawi  mil  fold)cm  aiif,  Mmif  rmx\  fcfn  ©cmut  iild)f  gar  ttrjlurijr  mcvi 
«<.    QiJaim  abtr  vince  i<&<n  ^SucftjlalKn^  2lrf  l)(ran«  gcbradjt  tfl;  fo  mu^ 
^rnrtdj  aDtrgld^flngw.inMwtrbcji,  l»af  man  tU  0f(ninK  (ctnt  6r((l)<n/ 
lin&n>a^  dnctf  jc&tn'^S  icbflabcnJ  art  fq^,  annx-(|(,  aiif  M^  <r  fic  1<iik  tcrflw 
^n,  tamff,  trann  tjcrna*  foil  tt>{(f<r  3«<an3(n  l»tr^<n,  man  fict)  bcp  ^<f)« 
Itrn  inD  a)Ji^fd)M3<n  in  ()ciif<n  tvffft .    iOaim  <«  fan  aUcrMn^j  an  tkfcm 
fl)(aq  aCctf  gcf)oI(r  »<rt»(n ,  tta«  ()ana(I)  (n  l><r  3an?<n  6act)c  ii^<3,  nnD 
fan  and)  fo  »kl  t>(rf({Kn  itxrtxn ,  ta^  <^  ^xm^*  faiim  <n  »(<(  ^fat""  'an  (J"* 
urn  3c()cl(t  »<r><n .    S)a5  <f?  nun  Mtf« :  iWinj  nxrlxn  n><r  an  J(cftm  fpfoj 
fen  nid)t  ttxircr  gc^cn,  font<rn  wcDcn  Ur\  gratm  Ql)<g  tarUgm,  tva?  <(> 
n<n  4.  ©rimmfgtn  0<fan3  aii^ma(fKf  /  iinb  »a^  bcp  aOcn  un^  jcc<n  QDdi 
f<n  natl)  f (jrnr  2rr  vor  ^iid)f?ab<n  (n  tfncr  j(^<n  ©rtmm  auf  Xn  Choral  paf; 
fen ,  rdi,  aud)  D<n  (Sctd'iiTd  rtncr  |<b<n  -2Bdp  fri  4.  (Sttmrnm  aiif  diur  ^a» 
fd  f(f)<n  (a([(n,  ijb&  wann  dn  ©(fang  gcfaUcn;  tt<t  or  »(<&«  |u  |)(» 
Un,  fca^  CT  nlcfef  a«f<r  fdn<r  2n  unt  Maniet  g<f<5f  itcrtt . 

({0  <f{  iu  Tci^m,  baf  nic^t  mc^r  altf  3.  9iid)^ab<n  fcpn  f^nnm  ^  fo  N< 
4.  6f{mmm  au^madxn/  iv<0tt<5(nbf(4f<@rlmm  aBcmal  mit  to:  Octav 
g(fd)U^(n  tHrb/  tvddK  3.  ^iidif?ab<n  tann  aOcmaf  bcQ  dncr  ffNn 'i})?do« 
tf<  gidd)  yen  Snfang  Aiifgcrrmn  fomm(n  /  ta^  ft(  iintf  M(  4.  &r<mnicn  go 
ft<n^  tvobtr;  tann  iu  mtrdfen^  taf  Mtft  3.  Q}iid)f{abcn ,  M(  <m  2ln[ang  vor> 
fommcn^  tU  tO?df?(r  iinb  ^mn  f(n^/  tvo  aOe^  von^Tnfang  hit  iii  ^nb(  niii$ 
Aiif  b<rij{Kn  Wdb<n,  tvx<Un  5<r  ©cfang  aHcmal  am  5)ib  n»U&<r  m(f  (b(n  txw 
fdb<n  3.^iid)(?ab<n  aiirf)a(rfn  mii^,  womlf  tr  angcfnngen.  3(T  t«  ((n« 
C»'2B<<^/  fo((TlI^^fo(3Cffdn31n^<r<r,  aff<  ^a■e.  iinb  madxr  6<n  ^dKi'if? 
ft/  |ut<m  •  Barrif;  Ux  g.  <fl  fdn  X>r(fr(r,  (a  6ann  6<r  cb<T<  b<n  Taiicr,u. 
6tr  um<r<  Choral  g.  6<n  B«rs  anWngt;  Dod)  fantf  fommm,  ba^  fi<  »(rtt»<d)» 
fdt  nxTNn,  »<nn  n<mi(d)  bcr  Choral  nld)t  Ju^  mf(  b<m  C.  anfAngt ,  tod? 
ildbm  fu  {xpfammm/fangcnNn  Choral  an,  nnb  tnWgtn  <f)n  and) .  QBa« 
iw<fe  fon|?«n  W<  anbffcn  4 .  Q5ud)|!ab<n ,  W<  n>h-  t)«<r  j^ncdKt  nrnn<n ,  an» 
toi^f ;  010  f .  a .  h .  d .  fo  foa  dntm  <(b<n  ton  ftl Wqtn  fdn  ®W(fncd)f  UmtxUt 
BKtNn/  !»<(  fi<  n<mMd>  iii(am<n  fhmmtn.  Unb  th  wr  airav  wel  am  (fn» 
*«  oJtf  ««f  ^afdn  iwDoi  (({xn  fa(f<n ,  f«  wolUn  »<r  boct>  bancNn  >«n  tSWp 

ft+t)  '^"" 

•  »ff  tNrrii  if  M*  Nt  ffwiiBrt  RcNiU-W  t«  t<M,  Ux  %iM*Ux  Kr»l«. 


Barrir  and  Tocner.  73 

Barrir^  (tenor),  and  G  in  the  Toener  (alto).  Thus  the 
alto  and  the  bass  begin  on  G.  This  order  may,  however, 
be  inverted,  when,  e.  g.,  the  melody  does  not  begin  with 
C.  Nevertheless  these  letters  (notes)  must  remain  together 
and  begin  and  end  the  tune. 

"As  regards  the  four  remaining  letters  (notes),  F,  A, 

B,  D,  which  we  shall  designate  servants,  let  each  be  told 
how  he  must  serve  his  fellow-servants,  so  that  they  may 
harmonize.  And  although  we  shall  show  all  this  in  dia- 
grams at  the  close,  we  will  now  give  ourselves  the  addi- 
tional trouble  of  explaining  which  must  be  the  two  asso- 
ciates of  each  of  these  letters  (notes). 

"  If  F  occurs  in  the  melody  it  is  served  by  D  in  the 
tenor  and  bass,  and  by  A  in  the  alto ;  A  demands  D  in  the 
tenor  and  bass,  and  A  in  the  alto,  sometimes  also  in  the 
bass ;  B  calls  for  D  in  the  tenor,  and  G  in  the  alto  and 
bass ;  D  asks  for  B  in  the  tenor,  and  G  in  the  alto  and 
bass.  In  this  manner  a  melody  in  C  may  be  harmonized 
in  four  parts. 

"Let  us  now  show  how  the  pitch  may  be  recovered 
when  it  has  fallen.  To  do  so,  the  beginning  must  always 
be  made  with  the  key-note.     If  the  melody  is  in  C,  sing 

C,  D,  T}^',  then  call  D^  C,  and  continue  on  this  pitch. 

"  Now  let  us  proceed  from  the  key  of  C  to  the  key  of 
A  (minor).  Here  again  let  us  first  give  attention  to  the 
three  masters  with  which  the  four  parts  must  begin  and 


*  Conrad  Beissel  here  g^ves  an  explanatory  footnote  regarding  the  use  of  the 
terms  Barrir  and  Toener^  stating  that  in  ordinary  language  the  former  stands 
for  tenor,  the  latter  for  alto.  Both  of  these  terms  were  used  arbitrarily  by 
Beissel,  as  neither  appears  to  have  been  known  to  the  Rev.  H.  Ernst  Muhlen- 
berg, the  best  philologist  in  Pennsylvania  during  the  last  quarter  of  the  eight- 
eenth century.  In  a  previous  translation  I  was  misled  in  the  use  of  these 
terms  by  a  person  to  whom  I  submitted  my  copy  under  the  impression  that 
he  was  an  expert  musician.  In  the  present  translation  the  modern  terms  are 
used  wherever  they  occur. — Julius  F.  Sachse. 


74 


Music  of  the  Efhrata   Cloister. 


>t.  ymvaoifyM.  ^  ^  C.  ^taifrtt 


end,  and  then  bring  together  the  four  servants  and  assign 
each  his  duty.  As  A  is  here  the  ruler  (key-note)  of  the 
melody,  its  associates  are  C  in  the  tenor  (occasionally  also 
in  the  bass),  and  E  in  the  alto  and  bass.  This  is  the  four- 
part  chord  in  the  key  of  A  (minor).  The  remaining  four 
servants  which  do  duty  besides,  are  F,  G,  B  and  D.  F 
calls  for  B  in  the  tenor,  and  for  D  in  the  alto  and  bass ;  G 


t\ 

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Four-part  Key  for  Melodies  in  C. 


Melodies  in  A  and  G  Minor.  7S 

for  E  in  the  tenor  and  bass,  and  C  in  alto ;  B  for  G#  in  the 
tenor,  and  E  in  the  aho  and  bass ;  D  for  B  in  the  tenor, 
and  G  in  the  alto  and  bass.  If  the  pitch  has  sunk  I  must 
call  the  C  I  am  singing  A,  ascend  to  a  new  C,  call  that 
A,  and  continue.  Thus  we  also  clearly  see  how  to  bring 
melodies  in  A  (minor)  into  four-part  harmony,  and  how  to 
regain  the  pitch  when  it  has  fallen. 

"  Let  us  now  pass  from  melodies  in  the  key  of  A  (minor) 
to  those  in  the  key  of  Bj?.  In  the  latter  key  B[?,  D  and  F 
are  the  lords  and  masters.  B[?  is  the  key-note  of  the 
melody,  D  governs  the  tenor,  and  F  the  alto  and  bass, 
though  B^  indeed  remains  the  ruler  in  the  bass.  The 
four  servants  are  G,  A,  C  and  E^.  Of  these  we  associate 
G  with  the  melody,  but  C  with  the  tenor  and  bass  (though 
the  upper  G  more  conveniently  takes  Ef?  in  the  bass), 
whilst  the  alto  invariably  becomes  E[?.  A  calls  for  C  in 
the  tenor,  and  F  in  the  alto  and  bass  ;  C  for  A  in  the  tenor, 
and  F  in  the  alto  and  bass ;  E[7  for  C  in  the  tenor  and 
base,  and  G  in  the  alto.  If  the  pitch  has  fallen  I  call  my 
B[?  G,  ascend  the  proper  number  of  degrees  to  a  new  B[7, 
and  sing  on. 

"And  now  let  us  look  at  these  melodies  in  which  G  is 
the  ruler,  and  B[?  and  D  are  the  associates  (G  minor).  In 
these  we  come  to  a  wonderfully  strange  turn,  inasmuch 
as  altogether  different  letters  (notes)  are  made  to  do  ser- 
vice in  the  three  other  parts.  We  begin  with  the  three 
masters.  In  these  melodies  the  parts  start  with  G,  B|? 
and  D.  Let  it  be  understood  that  the  three  letters  (notes), 
invariably  stay  together  and  form  the  beginning  of  a  tune 
in  four  parts ;  that,  as  already  stated,  the  fourth  part  is 
the  octave ;  and  that  it  does  not  matter  with  which  of  these 
three  letters  (notes)  a  tune  begins.  That  in  our  descrip- 
tion we  always  begin  with  the  letter  which  designates  the 


76 


Music  of  the  Ephrata   Cloister. 


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(l)    C   MAJOR,    (2)    A  MINOR,    (3)    G    MINOR,    (4)    G    MAJOR. 
KBV  DIAGRAM    FROM  THE  SCORE  BOOK  OF  THE  CLOISTER. 


Key  Diagram. 


n. 


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iieie^3iMi&5i 


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(5)    Bb    MAJOR,    (6)    F   MAJOR,    (7)    EI'    MAJOR,    (8)    C   MINOR. 
KEY  DIAGRAM   FROM  THE  SCORE  BOOK  OF  THE  CI^OISTER. 


78  Music  of  the  Efhrata  Cloister. 

key  in  which  the  melody  is  written,  is  done  for  the  sake  of 
accuracy.  This  is  also  the  reason  why,  in  our  account, 
we  seem  to  insinuate  that  all  melodies  begin  with  the 
letter  (note)  which  is  the  chief  in  the  melody  (the  key- 
note) ;  yet  this  is  not  possible.  In  our  further  description 
we  will,  therefore,  continue  to  be  governed  by  the  special 
characteristics  of  the  melody.  This,  then,  is  the  manner 
of  those  melodies  in  G  that  contain  B[?  (G  minor).  G  in 
the  melody  takes  Bf?  in  the  tenor,  and  D  in  the  alto  and 
bass.  This  is  the  chord,  and  it  remains  the  same  through 
the  whole  piece,  excepting  that  when  G  is  sustained  in 
the  melody,  the  tenor  always  sings  B  instead  of  B[?.  This 
is  also  the  case  with  melodies  in  A  (minor),  in  which  the 
tenor  sings  CiJ^  to  a  sustained  A  in  the  melody.  The  four 
remaining  letters  (notes)  F,  A,  C  and  D#  (Ef?),  serve  as 
follows :  F  requires  B[?  in  the  tenor  and  bass,  and  D  in 
the  alto;  A  demands  D  in  the  alto  and  bass,  and  F#  in 
the  tenor ;  C  calls  for  A  in  the  tenor,  and  for  F  in  the  alto 
and  bass ;  and  D^  (E^)  is  served  by  G  in  the  tenor,  and  by 
E  (probably  meant  for  C — Tr.),  in  the  alto  and  bass.  To 
raise  the  pitch  when  it  has  sunk,  proceed  as  under  melo- 
dies in  B[?. 

•*  We  now  come  to  the  melodies  in  G  that  have  B  and 
F#  (G  major),  in  which  G,  B  and  D  form  the  triad  and 
give  us  the  four  parts.  The  remaining  letters  (notes)  F^, 
A,  C  and  E  are  treated  as  follows  :  F#  is  served  by  B  in 
the  tenor  (sometimes  also  in  the  bass),  and  by  D  in  the  alto 
and  bass ;  A  by  D  in  the  tenor  and  bass,  and  by  F#  in  the 
alto ;  C  by  upper  E  in  the  tenor,  and  by  A  in  the  alto  and 
bass ;  E  by  C  in  the  tenor  and  bass,  and  by  A  in  the  alto. 
The  directions  given  under  melodies  in  B[?  will  show  how 
the  pitch  may  be  raised. 

"  There  yet  remain  the  melodies  in  F,  in  which  the  triad 


The  Secret  of  Spiritual  Song . 


79 


F,  A,  C  gives  us  the  four  parts.  The  remaining  four 
servants  G,  B[?,  D  and  E  are  disposed  as  follows  :  G  is 
served  by  C  in  the  tenor  and  bass,  and  by  E  in  the  alto ; 
B^  by  D  in  the  tenor,  and  by  G  in  the  alto  and  bass ;  D 
by  B[?  in  the  tenor  and  bass,  and  by  G  in  the  alto ;  E  by 
C  in  the  tenor  and  bass,  and  by  A,  sometimes  by  G,  in  the 
alto.  If  the  pitch  has  fallen,  I  do  as  indicated  above, 
i.  e.,  I  get  another  F  by  singing  F,  G,  A\^,  and  then  calling 
K\}  F,  on  which  pitch  I  continue. 

'*  We  have  now  imparted,  as  well  as  we  are  able,  the 
secret  of  our  spiritual  song.  Although  in  this  work  (the 
Turtel  Taube)  we  are  more  concerned  with  hymns  than 
with  tunes,  and  a  well-informed  person  might  ask  why  so 
much  has  been  said  about  music  when  none  appears  in  the 
book,  we  have  yet  thought  it  proper  to  write  this  introduc- 
tion, partly  because  from  music  the  hymns  in  this  volume 
derive  their  attire  and  adornment,  and  partly  because  it 
will  stimulate  lovers  of  this  noble  and  paradisiacal  art  to 
inquire  further  into  its  secrets." 

Thus  ends  Beissel's  extraordinary  Dissertation  on  Har- 
mony, which  was  the  basis  of  the  Ephrata  music.  A  few 
short  paragraphs  of  an  apologetic  character  conclude  his 
**  Vorrede  iiber  die  Sing- Arbeit.'''' 


FACSIMILE  OF  WATERMARK  IN  WRITER'S  LARGE  PAPER  COPY  OF  THE 

TURTEL  TAUBE  ;    vide  pp.  65  supra. 


CHAPTER  IX. 
Original  and  Modern  Notation. 


)N  conclusion  we  present  a  few  examples  of 
Ephrata  music,  in  their  original  form  as  well 
as  in  modern  notation.  One  of  the  most 
characteristic  of  these  is  Die  Bratit  ist  Er- 
■wachet,  set  in  four  parts.  How  the  original 
score  of  this  tune  was  written  on  a  single  staff  is  shown 
on  the  following  page. 

It  will  be  noticed  that  all  this  music  is  very  strange  in 
its  progressions,  and  violates  almost  every  rule  of  har- 
mony, as  is  to  be  expected  from  one  who  was  not  an 
educated  musician.  This  fact,  however,  does  not  lessen  the 
historic  value  of  these  unique  compositions,  but  rather  tends 
to  increase  our  admiration  for  the  enthusiastic  celibates  of 
the  mystic  community  on  the  Cocalico,  who,  at  so  early  a 
day,  in  the  midst  of  their  primitive  surroundings,  found 
time  and  inspiration  to  work  out  their  own  system  of  har- 
mony and  compose  so  many  original  hymns  and  tunes. 

The  rendition  of  this  music  was  as  peculiar  as  the  music 
itself,  and  was  sung  according  to  the  old  records  in  a  fal- 
setto voice  without  opening  wide  the  lips.  The  result,  we 
are  told,  was  a  "  soft  measured  cadence  of  sweet  harmony." 
The  true  Ephrata  vocal  music  virtually  died  out  with  the 

community. 

(80) 


A  Unique  Score. 


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82 


Music  of  the  Efhrata  Cloister. 


Music  of  the  Ephrata  Kloster. 


83 


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84 


Music  of  the  Efhrata  Cloister. 


After  the  singing  schools  became  established,  the  celi- 
bates, male  and  female,  were  divided  into  five  choirs,  with 
five  persons  to  each  choir,  namely,  one  soprano,  one  tenor, 
one  alto  and  two  bass  singers.  The  sisters  were  divided  into 
three  choirs,  the  upper,  middle  and  lower;  and  in  the 
choruses  a  sign  was  made  for  each  choir,  when  to  be  silent 
and  when  to  join  in  the  singing.  These  three  choirs  had 
their  separate  seats  at  the  table  of  the  sisters  during  love 
feasts,  the  upper  choir  at  the  upper  end,  the  middle  at  the 
middle,  and  the  lower  at  the  lower  end.  In  singing  anti- 
phonally,  therefore,  the  singing  went  alternately  up  and 
down  the  table.  Not  only  had  each  choir  to  observe  its 
time  when  to  join  in,  but,  because  there  were  solos  in 

»|r  fotrthtt  Mr  nit<|«9«,  jrtgm  uuftc  Jwc^t  t«  ©oat,  tk  njtr  unttt 


MtactO'^gdt  antfgtidct  Mir^  Mnt  ^nup,  birr  (iiD  tMruoD  j^i^rn  on>  n»)<  rg 
ail  uotf  i)uft  g«t()un. 


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AN   ANTHEM   ARRANGED   TO   BE  SUNG    ANTIPHONALLY    FROM    WTTN- 
DERSPIEL,  p.  9. 


Music  of  the  Ephrata  Kloster. 


85 


ARRANGED   AS   A  HYMN   FOR    FrV'E-PART    CHOIR.       TURTEL    TAUBE,   HYMN   I3, 
PART  ONE,   p.    66.      ZIONITISCHER   ROSENGARTEN,  p.  27. 


NO.    98,    PART   FOUR,    pp.   402,   TURTEI,  TAUBE. 


pr^  fife  *in  6eupr  ©oSJ.  Ofirnm  a;i2(  i(^  i^n  -o&a  ^pr(pn  fcbpn  in  ilcn  ^mim  ^rf m 


_    ,i     J     g.    -f.. 

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— ,  *  f 

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<V   '  '      '   :  '     '    '  // 

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ZIONITISCHER  ROSENGARTEN,   p.    I02. 


86  Music  of  the  Ephrata  Cloister. 

each  chorale,  every  voice  knew  when  to  keep  silent,  all  of 
which  was  most  attentively  observed. 

The  next  illustration  presented  here  is  the  hymn  Wohl- 
auf  wohl-auf  und  schmiick  dich.  This  is  also  given  in 
both  the  original  and  the  modern  form.  Both  of  the  above 
melodies,  with  that  of  the  seven-part  choral  Goit  ein 
Herrscher  aller  Heiden  were  artistically  rendered  by  Mrs. 
Frank  Binnix  at  our  annual  gathering  at  Harrisburg,  Oc- 
tober, 1901. 

An  illustration  of  the  five-part  setting  "  Wie  ist  dock  der 
Herr  so  giitig,'''  is  given  upon  the  previous  page. 

The  words  and  music  of  this  hymn  are  by  Sister  Ana- 
stasia  (Anna  Thomen),  who  afterwards  eloped  with  and 
married  Johannes  Wiister,  the  Philadelphia  merchant. 

How  the  same  words  and  tune  were  frequently  set  as  an 
anthem  as  well  as  a  hymn  is  shown  by  the  two  versions  of 
the  hymn  Gott  ivir  koinmen  Dir  entgegen,  on  pages  84 
and  85. 

An  illustration  of  music  set  in  six  parts  is  also  presented 
in  the  original  form.  This  is  taken  from  the  Paradisches 
Wunder spiel,  or  the  great  choral  book  of  1754. 

In  closing  our  paper  upon  the  music  of  the  cloister  we 
present  a  version  of  the  celebrated  seven-part  motet  Gott 
ein  Hersher  aller  Heiden  transposed  into  modern  notation. 
The  same  criticisms  as  to  progressions  that  apply  to  the 
other  pieces  apply  also  to  this  composition. 


Motet  m  Six  Farts, 


87 


88 


Music  of  the  Efhrata   Cloister. 


Modern  Notation. 


89 


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Music  of  the  Efhrata  Cloister. 


Modern  Notation. 


91 


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92 


Music  of  the  E-phrata  Cloister. 


SVMBOI.  AND  MOTTO  OF  THE  EPHRATA  COMMUNITY. 


^pptn&ix. 


H  Ipage  of  Epbrata  XCbeosopbi?. 


Read  at  the  annual  Meeting  of  the  Pennsylvania 

German  Society,  ephrata,  penna., 

October  20,  1899. 


By 
JULIUS   FRIEDRICH   SACHSE,    LlTT.D. 


LANCASTER,  PA 
1903. 


94  Efhrata    Theosophy. 

5)it  tix^ti  an  mtixxmrn.  fn  Su^ffatifwn, 


Untrrtic^ 

9ii(9cf()l  1^  92u^  oni)  ©cbiduc^  0ot  Stmbcc 


gtPt^K  Stuftcge^ 


EPHR  AT  A- 

^nidxr  tub  SMbinbd  17;^ 

TITI.B  PAGB  OF  HOECKER'S  BPHRATA  PRIMSR. 


EPHRATA  THEOSOPHY. 


H 


MONG  a  mass  of 
papers  and  manu- 
scripts which  it  was  the 
good  fortune  of  the  writer 
to  examine  some  months 
ago,  dating  from  the  pro- 
vincial period,  and  re- 
lating more  or  less  to  the 
upper  end  of  Lancaster 
County,  there  was  one 
that  particularly  attracted 
his  attention. 

This  was  an  old  manu- 
script, yellow  and  dis- 
colored by  age.  It  was 
written  on  the  ordinary  coarse  writing-paper,  such  as  was 
the  product  of  the  paper-mills  on  the  Wissahickon  and 
Cocalico.  The  writing  was  still  distinct  and  clear,  done 
in  a  firm  hand,  with  a  well-pointed  quill,  showing  that  the 
writer  must  have  been  one  of  education  and  experience. 

Upon  the  outside,  as  a  legend,  it  bore  the  old  German 
proverb  or  Sj>ruckwort : 

(95) 


96  Ephrata    Thcosophy. 

"  Quale  nie  ein  Thier  aus  scherz, 
Dann  es  fiihlt  wic  du  den  schmerz." 

("  Ne'er  torment  a  beast  in  sport, 
For  it  feels  like  you  when  hurt.") 

Upon  examining  the  paper  it  proved  to  be  a  plea  for 
mercy  toward  the  brute  creation.  This  ended  with  an 
earnest  entreaty  for  social  purity,  and  incidentally  illus- 
trated the  theory  of  the  migration  of  the  soul. 

The  more  it  was  examined,  the  greater  became  the  in- 
terest in  the  subject  and  the  manner  wherein  it  was  pre- 
sented. The  only  possible  clue  to  authorship  was  the  en- 
dorsement upon  the  first  page:  "  Obed,  ein  wallender 
nach  der  seligen  e-wigkeit."  This  was  the  signature  and 
Kloster  name  of  Ludwig  Hocker,  one  of  the  most  devout 
members  of  the  Ephrata  Community,  who  was  the  school- 
master of  the  settlement,  and  has  the  honor  of  having  es- 
tablished, in  1739,  the  first  Sunday-school  of  which  we 
have  any  record.  Brother  Obed  was  also  one  of  the  in- 
structors in  the  classical  school  or  academy  maintained  by 
the  Brotherhood,  and  the  present  paper  is  evidently  one  of 
his  lectures  or  discourses  delivered  before  the  higher  class. 
He  was  a  prominent  character  in  the  Ephrata  Community, 
and  a  firm  supporter  of  Prior  Jaebez. 

When  he  was  in  his  seventieth  year,  and  the  institution 
was  already  verging  into  a  state  of  decline,  the  old  philoso- 
pher published  a  second  edition  of  his  primer  and  school- 
book. 

Upon  the  reverse  of  the  title  he  gives  as  a  reason  for  its 
publication  that  "  if  it  be  used  by  the  children,  it  will  pre- 
vent, in  every  case,  the  destruction  of  a  Psalter  or  a  Testa- 
ment " ;  thus  showing  that  the  chief  text-book  of  the 
Ephrata  system  of  education  was  based  upon  the  daily 
use  of  these  two  fundamental  parts  of  Holy  Writ.     At  the 


MUSIC    OF    THE    EPHRATA    CLOISTER. 


.    F.    SACHSE,    PHOTO. 


ONE    OF    THE    EPHRATA    PRINTING    PRESSES. 

IN    COLLECTION    OP    MISTORICHL    SOCIETY    OP    PEN  NSYLU  A  N  I  fl  , 


Efhrata  Theosofhy.  97 

time  of  its  issue,  as  will  be  seen  from  the  title,  the  pious 
recluse  then  filled  the  position  of  schoolmaster,  printer  and 
bookbinder  to  the  Brotherhood.  Brother  Obed  died  dur- 
ing the  summer  of  1792,  after  passing  the  allotted  three- 
score years  and  ten. 

The  paper  under  consideration  has  the  distinction  of 
being  the  earliest  effort  made  in  this  country  to  prevent 
cruelty  to  animals,  and  to  inculcate  in  the  minds  of  the 
growing  generation  the  duty  of  protecting  and  respecting 
the  virtue  of  the  gentler  sex.  The  illustrations  in  the 
course  of  the  lecture  are  occasionally  of  a  somewhat  har- 
rowing nature;  at  the  same  time,  we  must  bear  in  mind 
the  state  of  the  country  and  its  people  at  that  period,  when 
it  will  be  found  that  the  similes  are  well  suited  to  the  times 
in  which  they  are  used. 

It  matters  but  little  whether  or  not  good  Brother  Obed 
was  the  author  of  the  paper.  There  were  others  among 
the  solitary  recluses  equally  devout.  At  the  same  time  it 
is  an  excellent  illustration  of  the  code  of  morals  taught  in 
this  community.  Then,  again,  we  have  here  the  earliest 
known  plea  for  the  two  movements  which  now,  in  the  clos- 
ing years  of  the  nineteenth  century,  have  become  a  fashion- 
able fad.  It  is  but  another  illustration  of  how  the  Penn- 
sylvania German  has  lost  the  honor  and  credit  due  to  him 
through  his  innate  modesty. 

Here  the  lecturer  was  far  ahead  of  his  time.  What 
fruits  his  labors  bore,  both  history  and  tradition  have  failed 
to  record.  What  great  good  was  accomplished  by  this 
plea,  so  quaintly  and  forcibly  presented  to  the  youth  of  the 
middle  of  the  eighteenth  century,  will  never  be  known. 
Even  the  existence  of  this  essay  was  unknown  and  forgot- 
ten until  it  fortunately  fell  into  the  hands  of  the  writer,  and 
is  now  translated  into  the  language  of  the  country : 


98  Ephrata   Thcosofhy. 


©  c  i  fin  i  c()  e 

^ 

r  f  e  f  ( 

<inc^ 

s 

tieH«mcu 

93i  I9  c  r^, 

^«fcf;e  «uon  1721.  bU  anfcine  i768» 
t'flvauf  crfofgtc  gntbinOuna 
fltrc^ricocB. 

£pl)rafa,  fiClJrucfi  im  3<^^    ^794» 

Title  page  of  a  unique  Epbrata  Imprint  in  the  collection  of  the  writer. 


Efhrata  Theosofhy .  99 

/       /''^^  f^yS    ^"i^^V  H^-l^^    sitting  in   my   chair 

I  f%  C^S^   J  NRr  'W^v         ^"'^   dozing  one  evening,  it 
^'^  ^Cw/  /vj  O*^^^     seemed  to  me  that  I  heard  a 

voice  saying:  "Take  up 
your  pen  and  write  what  I 
dictate."  I  looked  around 
whence  the  voice  came,  but 
could  see  nothing.  My  lamp 
was  still  burning,  but  the 
room  was  empty.  I  was 
alone.  Then  I  felt  that  it  was  my  guardian  spirit  {Schutz- 
getst)  who  had  made  his  presence  known,  so  I  at  once  pre- 
pared myself  to  write,  when  the  voice  dictated  the  following 
story : 

"  I  was  the  oldest  son  of  a  country  gentleman,  who  was 
possessed  of  large  wealth,  and  when  I  was  about  nineteen 
years  of  age,  I  was  thrown  by  my  horse  while  hunting, 
and  by  the  fall  dislocated  my  neck,  and  from  a  lack  of 
immediate  attention,  died  before  I  could  be  taken  home. 
"In  the  next  moment,  to  my  inexpressible  sorrow  and  sur- 
prise, I  found  myself  in  the  shape  of  a  pug-dog,  in  the 
stable  of  a  country  tavern  kept  by  a  man  who  formerly 
had  been  my  father's  butler,  and  married  the  cook.  As  a 
pug,  I  really  received  many  caresses.  Alas  !  my  master, 
to  increase,  as  he  said,  my  beauty  and  strength,  soon  after- 
wards cropped  my  ears  and  cut  off  a  piece  of  my  tail.  In 
addition  to  the  pain  this  operation  caused  me,  I  quickly  ex- 
perienced in  a  thousand  ways  what  great  inconvenience 
this  mutilation  subjected  me  to,  and  how  it  placed  me  at 
disadvantage.  At  the  same  time,  this  was  but  the  least 
part  of  my  misfortunes,  which  I  was  destined  to  suffer  in 
this  condition. 

"My  master  had  a  son  who  was  about  five  years  old,  and 


lOO  E-phrata    Theosophy. 

even  more  of  a  favorite  than  I  was ;  and  as  his  whims  and 
passions  were  condoned  as  soon  as  they  manifested  them- 
selves, he  was  encouraged  to  vent  his  spite  against  any 
living  or  inanimate  thing  which  offended  him,  by  beating 
me.  When  he  did  any  damage  (of  other  transgression  no 
notice  was  taken)  the  father,  the  mother,  or  servants  were 
ever  ready  to  flog  me  in  his  place. 

"This  intercourse  with  persons  whom  formerly  I  had  but 
looked  at  with  disdain,  and  was  wont  haughtily  to  com- 
mand, was  not  to  be  endured  ;  so,  earl}'  one  morning,  I 
ran  away.  Although  it  was  raining  hard  I  kept  on  my 
journey  until  the  afternoon  without  intermission.  It  was 
about  four  o'clock  when  I  came  to  a  village,  and  at  a  house 
where  some  carpenters  were  at  work  I  noticed  a  heap  of 
shavings  under  a  temporary  cover  to  keep  them  dry.  So 
I  crawled,  as  I  believed,  unnoticed  into  a  corner  and  lay 
down.  Alas !  a  man,  who  was  just  working  on  some 
lumber,  seeing  that  I  was  a  strange  dog  and  of  the  pug 
variety,  conceived  the  idea  of  amusing  himself  and  his 
fellow-workmen  at  my  expense.  For  this  purpose  he  bored 
a  hole  about  two  inches  in  diameter  in  a  piece  of  deal. 
He  then  caught  me  suddenly  and  poked  the  stump  of  my 
tail  through  this  hellish  machine,  and  with  a  hammer  drove 
a  heavy  wedge  beside  it,  so  as  to  firmly  fasten  all  together. 
The  act  crushed  the  bones  and  cause  me  indescribable 
torture.  As  he  set  me  down,  the  wretches  who  witnessed 
this  barbaric  play,  broke  out  into  boisterous  laughter  over 
the  painful  efforts  to  which  I  gave  expression,  in  my 
miserable  attempts  to  escape  and  release  m3'self  from  the 
board  which  I  was  forced  to  drag  after  me.  They  hissed 
me  until  I  was  out  of  their  sight.  In  the  meantime,  as 
fright,  pain  and  embarrassment  urged  me  on  with  an  un- 
willing speed,  I  ran  with  such  force  between  two  posts, 


Ej>hrata  Theoso-phy.  loi 

which  were  not  far  enough  apart  to  let  my  block  pass 
through,  that  the  board  with  the  remains  of  my  tail  stayed 
behind.  Soon  after,  I  found  myself  on  the  grounds  of  a 
gentleman  farmer,  where  I  saw  in  the  distance  the  large 
watch-dog ;  so,  fearing  to  be  torn  to  pieces,  I  continued  in 
my  flight.  Alas  !  several  farmers  at  work  in  a  barn  some 
distance  off,  seeing  that  I  ran  without  being  pursued,  that 
my  eyes  gleamed,  and  that  I  was  frothing  at  the  mouth, 
imagined  I  was  mad  and  struck  me  dead  with  a  threshing 
flail. 

"  Thereby  I  was  released  from  this  mutilated  and  perse- 
cuted body,  and  found  myself  under  the  wings  of  a  flicker, 
together  with  three  others  just  hatched.  I  now  rejoiced  in 
the  thought  that  I,  like  my  mother,  would  be  a  denizen  of 
the  air,  and  could  swing  myself  aloft  to  such  a  height  that 
no  human  cruelty  could  reach  me.  Alas  !  even  before  I 
could  rightly  fly,  my  mother  was  surprised  in  her  nest  by 
a  school-boy,  and  in  her  attempt  to  escape  was  squeezed 
so  hard  that  soon  after  she  died.  The  boy  thereupon  took 
the  nest,  and  all  there  was  in  it,  and  placed  it  in  a  basket 
where  I  soon  lost  my  three  companions  in  misery  by  the 
unsuitable  food  and  improper  attention.  I  remained  alive, 
and  after  I  was  able  to  feed  myself,  my  tyrant's  mother 
took  me  as  a  present  for  the  daughter  of  her  landlord. 
This  young  girl  was  a  beautiful  creature,  in  her  eighteenth 
year. 

"  My  imprisonment  now  seemed  to  lose  its  terrors.  I  did 
not  have  to  fear  the  rough  fist  of  an  ignorant  lout  whose 
caresses  were  even  more  to  be  dreaded  than  his  anger, 
who,  even  in  his  passion  and  inclination  fora  new  toy,  was 
apt  to  neglect  me  and  let  me  starve  to  death,  or  would 
twist  my  neck  for  the  penny  given  him  to  buy  my  food. 
I  now  became  accustomed  to  confinement  in  a  cage ;  I  was 


102  Ephrata    Theosofhy. 

hung  out  of  a  cheerful  window,  and  regularly  fed  by  one 
of  the  most  beautiful  hands  in  the  world.  Thus  I  fondly 
imagined  that  henceforth,  being  under  the  shelter  of  the 
tender  caresses  of  this  fair  being,  with  ever}'  evidence  of 
love  and  affection,  no  sorrow  would  come  to  me. 

*'  My  fate,  however,  was  destined  otherwise.  As  a 
young  lady  from  the  city  made  an  afternoon  call  at  my 
mistress'  house,  the  latter  embraced  the  opportunity  to  ex- 
hibit me  with  others  of  her  pets,  among  which  were  a 
parrot,  a  monkey,  and  a  small  dog.  She  whistled  and 
held  out  her  finger ;  I  hopped  upon  it ;  she  stroked  my 
feathers,  and  I  laid  my  head  against  her  cheek,  and, 
further  to  show  my  appreciation  and  how  I  valued  her  at- 
tentions, I  began  to  sing.  As  soon  as  m}-  lay  was  ended, 
the  visitor  turned  to  my  mistress  and  said  that  the  dear 
creature  would  necessarily  become  the  most  beautiful  sing- 
ing bird  in  the  world  if  its  eyes  were  burned  out,  and  it 
were  confined  in  a  narrow  cage. 

•'This  dreadful  suggestion  was  sanctioned  by  my  beau- 
tiful mistress,  upon  the  repeated  assurance  that  my  song 
would  be  greatly  increased  thereby.  Accordingly,  upon 
the  next  day,  she  undertook  the  inhuman  operation,  ac- 
cording to  the  given  directions,  using  the  point  of  a  heated 
knitting-needle. 

••  My  condition  may  now  be  easier  imagined  than  de- 
scribed. Fortunately  I  was  not  permitted  to  endure  the 
sad  loneliness  of  constant  darkness  for  any  extended  time, 
as  on  one  occasion,  in  the  dusk  of  the  evening,  a  cat  came 
unnoticed  into  the  room,  pulled  me  through  the  bars  of  my 
cage  and  ate  me  up. 

*'I  was  far  from  dissatisfied  to  be  again  released  from 
both  blindness  and  imprisonment,  and  in  the  shape  of  a 
May-bug  to  fly  about  in  the  air.     However,  I  had  scarcely 


Efhrata  Theoso^hy.  103 

entered  into  this  sphere  of  my  existence  when  a  gentleman, 
in  whose  garden  I  was  seeking  food  on  a  cherry  leaf,  caught 
me  and  gave  me  to  his  son,  a  little  fellow  who  was  just 
luxuriating  in  his  first  pair  of  trousers,  saying  :  '  Here, 
Charlie,  is  a  bird  for  you.'  The  boy  received  me  with 
pleasure,  expressing  Satanic  joy,  and  forthwith  impaled 
me  alive,  as  he  had  been  taught,  upon  a  needle  fastened  to 
a  linen  thread.  Thus  I  was  condemned  to  afford  pleasure 
to  my  young  master  by  sailing  around  in  the  anguish  and 
torment  of  death.  When  I  was  completely  exhausted  and 
unable  to  use  my  wings  any  longer,  he  was  told  to  crush 
me  under  foot,  as  I  was  of  no  further  use,  a  command 
which  he  executed  in  a  merciful  manner  by  scrunching  me 
in  an  instant  in  the  dust. 

' '  From  a  May-bug  I  migrated  into  a  rain-worm,  and  found 
myself  esconced  in  the  dung-heap  of  a  farm-yard.  By 
this  change  of  my  condition  I  consoled  myself  with  the 
reflection  that,  while  I  could  not  now  rise  in  the  air  and  with 
the  rapidity  of  thought  take  myself  from  one  place  to 
another,  I  was  at  least  in  a  position  where  I  could  neither  be 
a  pleasure  to  mankind  nor  evoke  their  enmity,  both  of  which 
had  proven  equally  disastrous  to  me.  Thus  I  hoped  now 
to  end  my  life  in  peace,  as  in  my  humble  condition  I  would 
escape  the  notice  of  the  most  cruel  of  all  created  creatures. 

**  Alas  !  I  was  not  suffered  to  rest  long  in  my  fancied 
security.  One  morning  I  was  disturbed  by  an  unusual 
noise,  and  remarked  that  the  whole  earth  around  me 
trembled.  Quickly  crawling  up  to  the  surface  to  learn 
the  cause,  I  no  sooner  got  to  the  top  than  I  was  eagerly 
seized  by  the  person  who  had  loosened  the  earth  with  a 
digging-fork  for  just  the  purpose  of  what  had  brought  me 
to  the  light.  Thus,  together  with  many  others  of  my  kind, 
all  companions  in  misfortune,  I  was  thrown  promiscuously 


104  Ephrata    Thcosophy. 

into  a  broken  pot,  and  soon  after  became  the  property  of  a 
tender-hearted  shepherd  who  found  his  pleasure  in  angling. 

'♦  The  next  morning  this  man  took  us  to  the  banks  of  a 
stream,  and  forthwith  took  out  one  of  my  companions  ;  and, 
while  whistling  a  lively  tune,  forced  a  barbed  fish-hook 
through  the  entire  length  of  the  worm,  as  the  point  entered 
at  the  head  and  emerged  at  the  tail.  The  unfortunate  ani- 
mal squirmed  on  the  bloody  hook  in  pain  and  suffered 
torture  greater  than  any  human  being  ever  experienced, 
and  which  no  animal  can  feel  whose  muscular  vitality  does 
not  extend  to  all  parts  of  its  being. 

•'  In  this  condition  it  was  thrown  into  the  water  as  bait 
for  a  fish,  until  it,  together  with  the  concealed  hook,  w-as 
swallowed  by  an  eel.  As  I  witnessed  this  tragedy  I  made 
my  own  reflections  upon  the  great  disproportion  between 
the  pleasure  of  catching  the  game  and  the  torment  inflicted 
upon  the  bait.  However,  these  reflections  were  suddenly 
dispelled  by  the  identical  anguish  of  death  of  which  I  had 
just  been  a  witness. 

"  You  would  not  have  space  enough  upon  your  paper  if 
I  were  to  relate  to  you  all  that  I  suffered  from  the  thought- 
less brutality  of  the  human  race :  what  I  experienced  as 
a  cock,  a  lobster,  and  a  pig.  It  will  suffice  to  say  that  I 
have  suffered  equal  to  the  malefactor  who  is  broken  on  the 
wheel,  for  I  was  boiled  alive  upon  a  slow  fire,  and  beaten 
to  death  with  five  thongs,  to  tickle  the  sensual  palate  of  the 
epicure  or  furnish  enjoyment  for  the  rabble." 

Thus  far  I  had  been  the  amanuensis  of  an  unseen  men- 
tor. During  the  continuation  of  my  musing  I  felt  some- 
thing tickle  my  hand.  As  I  lifted  my  eyes  from  the  paper 
to  see  what  it  was,  I  found  it  to  be  a  common  house-fly, 
which  I  immediately  caught  and  killed  by  holding  it  in  the 
flame  of  my  lamp.     In  an  instant  the  fly  disappeared  and 


E^hrata  Theosofhy.  105 

a  young  maiden  of  exquisite  form  and  beauty,  in  all  the 
glory  of  budding  womanhood,  stood  before  me.  ' '  Thought- 
less wretch,"  said  she,  "you  have  once  again  changed  the 
condition  of  my  existence,  and  have  now  exposed  me  to 
far  greater  fatalities  than  any  to  which  I  have  thus  far 
been  subjected.  As  a  house-fly,  I  was  your  mentor  and  I 
might  have  escaped  from  your  cruelty,  were  it  not  my  in- 
tention to  instruct  you.  Alas  !  now  it  is  impossible  for  me 
to  remain  concealed,  and  therefore  equally  impossible  to 
be  safe.  The  eyes  of  sensuality  and  unbridled  desire  are 
centered  upon  me.  Man  will  henceforth  use  all  his  wit, 
and  employ  an  indefatigable  resolution  to  lead  me  into  dis- 
honor and  vice.  But,  although  man  still  remains  my 
enemy,  and  henceforth  attacks  me  with  greater  ardor  and 
persists  in  his  desires  with  greater  stubbornness,  I  have 
now  less  strength  to  withstand  him  than  formerly.  There 
is  an  element  within  my  own  bosom  which  will  exert  itself 
to  annihilate  me ;  its  influence  is  constant,  and  a  constant 
influence  is  not  easily  overcome.  In  the  meantime  pub- 
lish unto  the  world  what  I  have  disclosed  unto  you  ;  and  if 
perchance  thereby  a  single  human  being  is  turned  from  the 
exercise  of  a  guilty  inadvertence  to  do  aught  for  the  pro- 
tection of  the  inferior  creatures,  and  also  by  these  consid- 
erations to  prevent  the  unfortunate  results  of  one's  inhuman 
actions,  which  cause  pain  and  suffering,  then  I  have  not 
suffered  in  vain. 

"  But  as  I  am  now  exposed  to  accidental  as  well  as  to 
incidental  evil,  and  as  I  not  only  stand  in  danger  of  wanton 
caprice  and  indiscretion,  but  also  of  the  wicked  designs  of 
cunning  and  knavery,  therefore,  in  order  to  expiate  for 
some  of  the  great  wrong  you  have  done  me,  let  it  hence- 
forth be  your  bounden  duty  to  warn,  in  public  print  and 
upon  all  proper  occasions,  the  female  sex  against  the  snares 


io6 


E-phrata   Theosophy . 


that  are  laid  for  their  destruction,  and  discourage  the  male 
sex  from  all  attempts  to  decoy  and  debauch  innocence. 
Show  unto  the  latter  the  enormity  of  their  crime,  which 
they  heap  upon  themselves,  and  picture  to  them  the  shame- 
less, dissimulating  treachery  that  they  commit  under  the 
guise  of  ardent  and  tender  affection  for  that  beauty  and 
innocence  alone  which  makes  love  credulous,  and  in  its 
guilelessness  is  free  from  suspicion,  and  is  thus  cast  into 
unfathomable  misery." 

As  I  listened  to  this  charge,  my  heart  beat  so  strongly 
that  the  anxious  efforts  I  made  to  answer  awakened  me. 


INDEX. 


Alphabet,  script,  29. 
Anastasia  sister,  86. 
Apology  for  sacred  song,  23,  24. 
Arndt's  prayers,  17,  21. 
Ausbund  geistlicher  Lieder,  43. 

Barrir  and  Toener,  Beissel's  ex- 
planation of,  72-73  ;   note  on,  73. 

Beans,  Effect  on  voice,  67. 

Beissel,  Conrad,  theories,  13  ;  Wuu- 
derschrift,  18  ;  English  version, 
19,  21  ;  dissertation  on  harmony, 
22,  50,  71-79 ;  apology  for  sacred 
song,  23-24  ;  as  composer,  23,  28  ; 
hymns  by,  49  ;  instructions  on 
the  voice,  66-69. 

Billings,  William,  11. 

Binnix,  Mrs.  Frank,  renders  music, 
86. 

Blum,  Ludwig,  29. 

Braut  des  Lamms,  45. 

Braut  Schmuck,  Geistlicher,  45. 

Buckwheat,  efifect  on  voice,  67. 

Butter,  effect  on  voice,  67. 

Cheese,  effect  on  voice,  67. 
Chronicon  Ephratense,  13  ;  title,  20. 
Cloister,  music  of,  27. 
Dissertation  on  harmony,  70-79. 
Dissertation  on  man's  fall,  19,  21. 
Drink,  effect  on  voice,  68. 

Early  Christians,  song  of,  25. 

Eggs,  effect  on  voice,  67. 

Ephrata,  pen  work,  12  ;  sampler, 
14 ;  brother  house,  14 ;  sister 
house,  15;  cloister  history,  15,  17; 
unique    imprints,    17,    21 ;    score 

(I 


book,  23  ;  sister,  32  ;  watermark, 
65  ;  script  alphabet,  69  ;  symbol, 
92 ;  theosophy,  95-106 ;  primer, 
1786,  94;  a  new  imprint,  98. 

Fahnestock,  Dr.  Wm.,  portrait,  i6  ; 
mention  of,  17. 

Geistlich  briefe,  title,  98. 
Geistlich  Denckmahl,  48. 
Geistliche  Lieder,  ausbund,  43. 
German  sectarians,  mention  of,  17  ; 

error  in,  corrected,  22,  23,  52. 
Gott  ein  Herscher  aller  Heiden,  29  ; 

original  score,  30. 

Harmony,  Beissel's,  14. 

Hertzen's  Bewegung,  1749,  44. 

Historians,  soi-disant,  16. 

Hocker,  Ludwig  (Bro.  Obed), 
primer,  94  ;  mention  of,  96,  97. 

Honey,  effect  on  voice,  67. 

Hymnals  of  Ephrata  Community, 
33  ;  title  pages  of,  1730,  34;  1732, 
35;  1734,  36;  1736,  37;  1739.  38; 

1747,  39;  1754,  40;  1755,  41 ;  1756, 

ib.  ;  1762,  ib. ;   1766,  42  ;  1785,  43. 

Jaebez,  Prior,  22  ;  portrait  of,  51  ; 
mention  of,  52,  96. 

Key  diagram  from  score  book,  76, 

77- 
Leben  eines  Herzogs,  21. 

Marshall,  Christopher,  22. 
Melodies,  in  C,  four  part,  74. 
Miller,    Rev.    Peter  —  vide    Jaebez 
Prior. 
07) 


io8 


Index. 


Milk,  effect  on  voice,  67. 

Morgen-Rutbe,  Abend-landiscbe, 
46. 

Movable  C  clef,  29. 

Music,  earliest  Ephrata,  10;  at  Snow- 
hill,  II,  12;  MSS.,  13;  unlike 
reformation  tunes,  14  ;  how  sung, 
15  ;  score  book,  22,  23 ;  four-part 
music  on  single  staff,  23 ;  new 
material,  27  ;  alleged  portrait,  28  ; 
movable  C  clef,  29  ;  arrangement 
of  voices,  29 ;  seven-part  ib.  on 
single  staff,  81  ;  four-part  key, 
74 ;  key  diagram,  77  ;  on  single 
staff,  81  ;  double  staff  ib..  Die 
braut  ist  erwachet  —  original 
and  modern,  82,  83 ;  four-part 
anthem,  84 ;  same  in  five-part, 
85  ;  six-part  setting,  87  ;  wohlauf, 
wohlauf,  original  and  modern 
four-part,  88,  89 ;  seven-part 
motet,  modern  notation,  90,  91. 

New  England  psalm  singer,  11. 
Notation,  original  and  modern,  80. 
Nunnery,  Suowhill,  11. 

Obed,    Bro.,    sec    Hocker,    Ludwig 
Ohl,  Rev.  J.  F.,   Mus.   D.,  27  ;  note 
by,  70 ;  translation  by,  70-79. 

Paradisisches  Wundcrspiel,  29  ;  title, 

42. 
Peculiar  rendition  of  music,  80. 

Rosen  und  Lilien,  title  of,  41. 
Reformation  music,  14. 


Sacred  song,  Beissel's  apology  for,23. 
Score  book  MS.,  Ephrata,  23. 
Score,  four-part  on  single  staff,  81. 
Sectarians,  German,  17. 
Seidenstickcr,  Prof.  Oswald,  17. 
Singing  school  of  kloster,  84 ;  classes 

in,  84. 
Sister,  sketch  of,  32. 
Snowhill  nunnery,  n,  12. 

Theosophy,  Ephrata,  a  page  of,  93- 
106. 

Transmigration  of  the  soul,  99-106. 

Thomen,  Anna,  86. 

Tubers,  effect  on  voice,  67. 

Turtel  Taube,  13,  22,  23  ;  title  page 
of,  39  ;  Nachklang,  41  ;  neuver- 
mehrtes,  its  sub-titles,  44,  45,  46, 
47,  48 ;  various  editions,  47  ;  epi- 
logue, 50;  Neuer  Nachklang,  52; 
foreword,  53-58  ;  facsimile  of  pro- 
logue, 59-65  ;  water-mark  in,  65, 
79;  dissertation  on  harmony,  70- 
79;  Kirren,  von,  45. 

Voice,  Beissel's  instructions  on, 
67  ;  milk,  effect  on,  ib.,  cheese,  ib., 
butter,  eggs,  honey,  wheat,  buck- 
wheat, effect  on,  ib.,  drink,  effect, 
on,  68. 

Voices,  peculiar  arrangements  of, 
29. 

Wheat,  effect  on  voice,  67. 
Wunderschrift,  Beissel's,  21. 

Zerfallenen,  Hiitte  Davids,  47,  48. 
Zionitischer  Rosen  Garten,  49. 
Ziouitic  watermark,  65. 


There  Will  be  Issued  Shortly  (to  Subscribers  Only)  a 
FACSIMILE  REPRODUCTION 

OF 

BEISSEL'S  TREATISE  ON  MUSIC. 

WHICH  FORMS  A  PREFACE  TO  THE 

'TURTEL    TaUBE,"    EPHRATA,   1747. 

A  translation,  as  literal  as  po-ssible,  by  a  competent  German  and 
Mu.sical  scholar,  will  be  given  page  for  page  with  the  facsimile,  so  that  com- 
petent persons  can  judge  for  themselves,  and  the  Treati.se  will  be  accompanied 
by  an  Introduction  and  Notes,  by  James  Warrington,  of  Philadelphia. 

This  Treatise,  couched  in  mystical  phrase,  is  exceedinglv  curious  and 
the  book  it.self  is  rare.  It  is  not  only  one  of  the  earliest  Treatises  on  Music 
printed  in  this  country,  and  on  that  account  interesting,  but  it  is  worthv  of 
attention  on  Theological  and  ^lusical  grounds.  In  it  Bei.ssel  actually  though 
not  formally,  uses  the  movable  Do,  and  in  some  respects  anticipates 'the  Tonic 
Sol  Fa  movement. 

\'ery  erronous  impressions  of  Beissel  and  his  music  prevail,  owing  to 
the  fact  that  from  and  including  the  time  when  Brothers  Lamech  and  Agrippa 
attempted  to  describe  his  method,  none  who  wrote  or  spoke  about  it  have  had 
any  knowledge  of  music  as  a  science.  The  common  idea  about  the  Ephrata 
celibates  .singing  in  "Falsetto,"  ari.ses  from  the  fact  that  .some  of  the  upper  parts 
for  female  voices  nin  as  high  as  A  and  B  above  the  staff,  and  as  the.se  voices 
did  not  sing  the  melody,  but  only  an  accompaniment,  those  unlearned  might 
easily  call  the.se  high  voices  "Falsetto"  without  knowing  what  the  term  really 
meant. 

The  many  mi.stakes  made,  render  a  true  appreciation  of  the  man  and 
his  musical  labors  iinpo.ssible  to  these  who  depend  upon  the  published  accounts 
and  in  his  "Ghrman  Sect.vki.vns,"  recently  published,  Sach.se  has  gathered 
together  all  the  flying  rumors  and  gossip  and  put  upon  them  the  .stamp  of  his 
approval.  A  slight  glance  at  the  original  gives  ample  evidence  that  not  only 
IS  the  "critical"  faculty  lamentably  ab.sent  from  this  would-be  hi.storian,  but 
tiial  his  knowledge  of  music  and  of  the  Knglish  language  is  .so  .slight  as  to  render 
his  translation  worthless  to  the  student.  These  facts  seem  to  render  a  good 
translation  necessary  :  hence  the  present  reproduction. 


was  a  collection  of  hymns  and  when 
the  colony  set  up  its  own  printing  es- 
tablishment, noted  for  the  quality  of  its 
I  paper  and  the  excellence  of  its  printing, 
I  the  publication  of  hj  mns,  Tfritten  by 
these  pietists,  became  an  important 
I  part  o£  its  work. 

"The  Turtel  Taube,"  or  book  of  "The 

[Turtle  Dove,"  made  its  appearnace  in 
1747.  The  title  was  symbolical  of  the 
dove,  which,  according  to  Greek  legend, 
descended  from  Heaven  at  the  time  of 
the  Crucifixiou,  settling  on  the  shoulder 
of  the  Saviour,  crying  "Kyrie,  Kyrie, 
Kyrie."  A  small  quarto,  of  a  little  over 
three  hundred  and  fifty  pages,  it  con- 
tains two  hundred  and 

!  Song  Worship    seventy-seven        hymns. 

An  Essential      two-thirds  of    them   by 

At  Epluata        Beissel,     the     rest     by 

other    members    of    the 

colony.    In    a    foreword    of    five    pages 

I  and  a  prologue  of  fourteen,  Beissel  ex- 
plains  some    of    tlie    principles    of    the 

I  order  and  of  its  music,  and  there,  as 
Dr.  Julius  F.  Sachse  has  pointed  out  in 
his  voluminous  study  of  the  colony, 
"The    German    Sectarians    of    Pennsyl- 

[  vania,"  the  student  of  religious  history 
and  of  music  can  learn  much  of  interest. 
For,  alUiough  Beissel  had  no  sense  of 
meter  or  of  rhythm,  he  did,  as  Sachse 

[  says,  evolve  a  distinctive  system  of  har- 
mony,  unique  musical   notation   and   a 

I  series  of  quaint  melodies,  which  charmed 
the  ear  and  exerted  an  influence  on 
American  hymnology.  In  "The  Turtel 
Taube"    there    is    exemplified,    in    the 

I  fullest  extent,  that  music  of  the  Cloister 
wliioh  delighted  Acrelius  when  he  vis- 
ited Ephrata  on  his  travels,  and  which 


DAY,    MARCH    9,    192 


was  the  earliest  and  most  original  dis- 
tinctive system  of  music  evolved  in  the 
western  world  during  the  Eighteenth 
Century. 

Friedsam  Gotlrecht,  as  Beissel  «\'as 
called,  was  always  striving  after  an 
angelic  choir.  So  he  counsels  the  sing- 
ers, in  the  prologue  to  this  work,  to 
avoid  such  diet  as  may  coarsen  the 
quality  of  their  tone  and  lectures  them 
on  pitch  and  tone  production.  If  one 
could  live  without  eating,  he  says,  truly 
voices  might  attune  to  those  of  the 
celestial  choir.  In  the  course  of  twenty 
years  he  composed  a  thousand  hymns. 
Night  after  night  his  training  of  the 
choir  went  on,  and,  when  the  weather, 
permitted,  he  would  lead  the  Sisters 
and  Brothers  on  a  midnight  tour  of  the 
grounds  singing  these  hymns. 

Beissel  had  no  difficulty  in  holding 
his  band  together,  despite  the  rigor  of 
their  existence,  and  he  was '  able  to 
draw  to  him  such  persons  as  Pastor 
Peter  Miller,  of  this  city,  a  graduate  of 
Heidelberg  and  a  scholarly  theologian, 
and  the  wife  of  Christopher  Sauer,  who 
deserted  her  husband,  in  order  that  she 
might  gain  spiritual  regeneration,  as 
one  of  the  doctrines  of  the  mystics  of 
the  Cocalico  was  that  no  woman  who 
loved  a  man  or  any  man  who  loved  a 
woman  more  than  God  could  expect  re- 
demption. In  time  Miller  became  Beis- 
sel's  successor  as  head  of  tlie  order 
while  Sauer's  wife  became  the  Prioress. 

With  BeisseTs  death,  in  the  summer  of 
1768,  the  decline  of  the  colony  began, 
although  its  customs  were  continued,  in 
part,  well  into  the  Nineteenth  Century 
at  the  Snowhill  Monastery,  in  Franklin 
county.  But  the  "Paradisiacal  Wonder 
Music,"  which  he  and  his  followers 
composed,  remaiii>  as  proof  of  the  na- 
tive genius  of  thii  Kelf-instructed  baker, 
wlio,  if  he  had  been  properly  trained  in 
the  art  of  composition,  might  have 
gained  high  distinction  as  a  composer. 
In  his  day  Beissel  often  met  more 
ridicule  than  respect  and  when  lie 
sought  converts  among  the  members  of 
other  German  sects  in  the  Skippack 
and  Perkiomen,  or  when  he  came  to 
Philadelphia  to  admonish"  the  Quakers 
to  give  up  "their  worldly  ways,"  he 
often  encountered  opposition. 


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